Video: Puppet Theater And Couture Salon Of The 50s In The New Moschino Lookbook
2024 Author: Henry Pass | [email protected]. Last modified: 2023-12-17 13:55
While some designers were making collections of the most essential basic things or experimenting with rethinking home clothes (thanks for this quarantine), others chose the path of escapism. You will hardly be surprised if we say that Jeremy Scott chose the second option for the new Moschino collection. Indeed, it is difficult to imagine a designer farther from classic pantsuits or gray joggers. And since Scott's sources of inspiration usually range from Barbie dolls to Marie Antoinette, something equally impressive was to be expected from Moschino's first collection since the pandemic.
The designer did not disappoint: the spring-summer presentation of the brand surprised even the most fastidious fashion snobs. Like Maria Grazia Chiuri for Dior's fall / winter couture collection, Jeremy Scott turned to the Theater of Fashion, an exhibition of miniature dolls by French couturiers, for inspiration just after World War II. Once this idea of Robert Ricci, the son of that same Nina, helped save French fashion in one of the most difficult periods in its history. Probably, now the same technique is designed to save world fashion from the consequences of the coronavirus. Not sure about the success of this venture, but for non-trivial work with primary sources, we definitely give Scott the highest score! And also for the painstaking work, because it is even more difficult to fit a dress on a miniature puppet in the right way than on a living person - completely different proportions. Something like shoeing a flea.
At first, it may seem that the design of the items in the collection is based on a banal and a thousand times retold story about a couture salon of the 50s. But upon closer examination, they reveal completely unexpected elements of deconstruction. At first, these are just seams and darts outward on supposedly turned inside out skirts and dresses, then - a dress in the spirit of Christian Dior's New Look with an open top layer that reveals a corset and a lush tulle petticoat, and then, as if unfinished dresses with traces of basting. This approach, very close in spirit to John Galliano's fall 2005 couture collection for Dior, is revealing a completely new sincerity in fashion right now, in our post-pandemic time. Designers and tailors, who for decades hid all internal processes behind closed atelier doors,in order to show guests of fashion shows an impeccable final picture twice a year, they are no longer afraid to demonstrate their painstaking and complex work without embellishment, as if signaling to us that it is difficult now even for those who day by day create a dream and a fairy tale. Moreover, as recent events have shown, it creates them even in moments of total uncertainty, when it is not entirely clear who will need all this fashion in the end.
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