The influences for ‘Displacement’, stemmed from artist Gordon Matta-Clarke’s work, alongside a stripped-back aesthetic inspired by a young Kate Moss. Matta-Clarke’s work focuses mainly on buildings and the possibilities of how he could change their properties; such huge structures that we expect to be immovable are often cut in half right down the middle and mis-placed, others have had huge holes cut through their layers, revealing space as well as insulation and things that we wouldn’t normally see.
This approach to deconstruction inspired a lot of my initial design work, and led me to experiment with slicing clothes and mis-placing them in ways that look a bit strange until you look closer and see what’s underneath. Using a lot of sheer fabrics and meshes has allowed me to create layered looks where you can see details on more than one garment at a time. Many of the textiles within the collection that come into play make reference to the bare walls and hidden spaces in Matta-Clarke’s work; extending from heavy concrete textures on coats, to other more delicate details that reveal the body in subtle ways. Using a hybrid of conventional fabrics such as silk organza and mesh alongside more unconventional materials that have the texture of paint and concrete worked into them has been a exciting challenge, and has allowed me to push my own expectations of what we can wear and use within fashion. It is important to me that the spirit of the woman comes through strongly in each collection, and as always I wanted to maintain a level of femininity and sexiness within androgynous garments by hinting at the body being revealed behind sheer layers of fabric. The prospect of challenging myself with surfaces that aren’t conventionally used in fashion is a big part of the excitement for me, and seeing it all come together in a finely balanced harmony is exhilarating.
Pre-Collection short film showing fringing in garments moving and reacting to light projection.
Collection inspired by the ritual clothing worn in many tribes based in Burkina Fasso, and the movements being emphasised by fringing and layers of materials on the garments. The masks that feature in these rituals also featured throughout the collection, through placement of details such as fringing and the seaming on trousers and jackets. Silhouettes were stemmed from 1970s motorcycle wear, which takes the collection from costume to wearable clothing, pushing the materials that we can use in fashion and creating looks that have an androgynous elegance.