Flashback, fastforward. Stop, cut, rewind, paste.
A study on clashes, using archetypes to maximize the effect and an elastic notion of time to stitch distant eras and styles, deconstructing and reconstructing memories.
Past is spoken in the present tense, in an askew lingo, as minimalism meets maximalism, the masculine encounters the feminine and the existential quest of the Beat Generation discovers the indulgence of the twenties. The result is a cabinet of rethought tropes.
Forms are hybrid. Mixes of antithetical fragments – traces of trench-coats, biker jackets and peacoats – are pasted into voluminous outerwear. Languorous dresses flow around the body, gathered by opulent bows. Fluid silhouettes are languid yet sober. Shearling shawls wrap the shoulders, giving a twist to elongated dresses that gently flare at the bottom and swarm with bold prints: manipulated flowers, circles, scribbled boules.
Time leaves permanent marks – crinkles, missing parts – on liquid dresses and chunky knits resurrected from old trunks. Raincoats are worn over pajamas, suggesting further clashes: inside versus outside, and up versus down. Bright gold and silver glow allover, where they are least expected, as night and day are finally reversed.
A grammar of juxtaposed materials: satin and felts, popeline and gabardine, metallic leather and shearling.
Over-the-knee boots create the illusion of longer legs, decadent pumps are balanced over sculptural heels, graphic buckles decorate loafers. Bags have hybrid shapes.
Available now at Marni, Hong Kong