Monogrammed ombré looks were achieved through layering and hand dyeing; ‘Steinmetz’ imprinted through overshoot weaving onto recycled cotton. Worn with diaphanous sheers, crystals cast upon them as though blown there by the wind, or doubled with denim woven with textured, ombré thread that resembled the soft waves of hair or sea swept patterns in sand.
Intending to work with artisans in Burkino Faso on the hand dyed textiles, she ties her values into craftsmanship and in doing so highlights rarities in the fashion landscape: clothing beyond commerce, lovingly crafted.
The presentation itself was an immersive installation, referencing Vanessa Beecroft’s Sister Calendar (2000) and Joseph Kosuth’s One and Three Chairs (1965), which find beauty within repetition and a deeper understanding within its subtleties. Models languished under blue lights, in dioramas set into the walls of the Topshop Showspace as though museum exhibits with the technical execution of their fabric detailed on plaques next to them. Though expressive, details became lost within the light; the clothes more beautiful in real life.