The fall 2021 sewing was a fun affair
Courtesy of Trademarks; Moss by David X Prutting / BFA.com; Viktor & Rolf from Marijke Aerden
Style Points is a weekly column on how fashion intersects with the rest of the world.
Your garden variety sewing review will note the history of the form, the craftsmanship behind it, and the acres of infinitesimal detail sewn by the small dishes, or artisans, who help keep the tradition alive. And with it, the lingering question: is tailoring relevant?
This is not your garden variety sewing magazine. Yes, all of the aforementioned tradition was in full force in the last series of shows. But perhaps more interestingly, the biannual event received a boost from designers, many of whom are young and up-and-coming, ready to challenge the codes and tear the rulebook to shreds. Has the seam ever felt this way, well, amusing?
In the “new to sewing” camp, Kerby Jean-Raymond of Pyer Moss, showing not in Paris but in Irvington, NY, in the historic home of beauty mogul Madame CJ Walker. Jean-Raymond became the first black American designer to be invited by the Chambre Syndicale to show his work as part of tailoring, and his show celebrated the innovations of black inventors, elevating everyday objects from curtain rods to bicycle grips going through a pot of peanuts. butter – to runway status. The oversized shapes gave the whole playful meaning, but also reflected a rich history, the main dish being a regal hooded coat made from curlers that paid homage to Walker. The collection recalled that, as the notes from Jean-Raymond’s show say, “the black imagination is the greatest technology in this world”.
In the “return” camp stood Demna Gvasalia, while Balenciaga returned to the fold of couture after 53 years with a collection that mixed pure Funny head joy of living (large hats; shapes reminiscent of Cristòbal; models with numbers, old-fashioned salon style) with her own hipster stamp (Ella Emhoff made an appearance as a model.) The show, which was held in a Restored version of Cristòbal Balenciaga’s original couture salon, was a celebration of the medium and a reminder of its continued resonance. As Gvasalia put it in her performance notes (signed “Love, Demna”) “Couture is above trends, fashion and industrial tailoring … it is not only relevant in the today’s mass production industry, but even absolutely necessary for the survival and further development of modern fashion. “
Daniel Roseberry is another designer who excels at merging fashion past and present, who has found a way to pay homage to Schiaparelli’s surreal DNA while simultaneously doing cheeky, modern work. He riffed on the house’s signatures with witty anatomical gags, like literal breastplates and painted toe shoes (Bella Hadid once wore her stunning golden lunged dress in Cannes.) But he also has. embraced the expansion of couture with exuberant forms that engulfed the room and incredibly impractical gold floral glasses. And never one to shy away from making a statement, Viktor & Rolf (remember when they took a chainsaw to sewing?) Showed off royalty-inspired looks with scarves made for a quirky pageant queen: the memes write themselves.
Charles de Vilmorin, recently appointed at the head of Rochas, showed a couture collection that included only one print, unlike his first couture collection soaked in color and paint. Wizarding maximalism was the order of the day, with feathers and creole skirts enlivening her black silhouettes. When I met him in February, shortly after his debut season, he said to me: “The fact that my young brand is on the sewing calendar is proof that sewing wants and needs to change, and to be. more open and [current]. I think this is a very good thing. Here is new blood.
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