As seen in a previous post, it is not rare nowadays to see an artwork and instantly think about a specific fashion collection, or viceversa. Walking around the Glasgow School of Art Graduation Show at the Reid Building (on until today), you may for example spot Lois Langmead's "Pelvis".
This piece was created building up many layers of machine stitching onto water soluble fabric. The latter was then washed away when the structure was able to hold itself, so that a form that was entirely made of thread remained. Though slightly disturbing since it reproduces the human pelvis, the piece also looks like a surreal doily made by reinterpreting traditional techniques.
Lace was a big theme at Burberry Prorsum's show during London Collections: Mens. The show, entitled "Straight-Laced", a reference to the tailored silhouette that prevailed in the collection, was about clashing dichotomies together such as the formal and the traditional, the tailored and the romantic, and the masculine and the feminine.
The collection featured indeed short-sleeved shirts and trenchcoats made with a riot of various types of laces including light Chantilly, cord-weight macramé and Nottingham (the show also included lace dresses from the Resort 2016 collection). In some cases, rather than being used to make entire garments, the lace was employed for small details such as detachable collars inspired by antique cloth designs.
At times Christopher Bailey also created lace-on-lace structures such as a white shirt with a black placket, though one of the most striking pieces remained a slim fit caban in unlined starched lace woven at a specialist mill in Italy. The collection was therefore about rediscovering and relaunching artisanal techniques and companies as well
The rather complex and solid pattern that formed some of the garments was not only reminiscent of the layered structure created by Langmead in her work, but, in some cases such as the starched caban, the lace patterns eerily reproduced the consistency of the bone matrix.
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