Positive error

Autumn Winter 21-22 looks ahead to a future ripe with the promise of innovative solutions and surprises. It’s a season built on experimentation, on making things, on research – opening that glorious door to hesitant first results. A process of trial and error involving careful reflection, uncertainty and failure, which might just give rise to success. The Autumn Winter 21-22 season develops this idea subtly and enthusiastically, as a guarantee of improvement and sustainability.

Bouncing back from errors, failures, accidents or results that fall outside the norm creates a positive outlook that’s open to the unexpected, to the unforeseen outcome that spurs a new creation – the delightful result of viewing errors in a favorable light. An approach well familiar to scientists and chemists such as Mas Subramian, who discovered a new color almost by accident – an extraordinary, inorganic and fantastic blue (*see link to article below) – a magnificent example that resonates with all those involved in the creative process.

Celebrating unanticipated results and reveling in the beauty of imperfection and irregularity open up new creative vistas. At a time when the glass and light of our screens are inescapably present, tactility gets smoothed away, sometimes even obliterated. Since the start of industrialization, the quest for perfection and flawlessness have led to a uniformity of materials, yarns, structures and clothing shapes.
Visual languages have often been smoothed out, graphic styles standardized, images caricatured, sometimes to the point where messages and aesthetic risks are almost flattened.

One salutary and determined counterweight to this groundswell is the appeal of artisanship, the handmade, a sensitivity to life and its textures, its everyday ridges and valleys, the exceptional poetry of time. The dexterity of this movement allows us to see and create tangible, fruitful progress in terms of fabrics and leathers, labels and buttons, jewelry and clothing. Living matter, weathering, erosion and grain provide the source for visual and tactile developments.
These underline the value of non-conformity, and find industrial ways of creating tangible particularities, imaginary defects and exceptional veining.

Natural wear characterizes the passage of time and renders materials eloquent and memorable, to mark silhouettes with lived-in aspects, uneven visuals and eye-catching handles.

Bumpy textures, random relief and intermittent snags are some of the many possible differentiations and revealing an unassuming, unvarnished reality.

In colors, subtly modulated hues sometimes conceal virtuoso know-hows. Prints, coatings, washings and wash-outs caress surfaces, lending them a sensitive relief, mysterious luminosities or a rough character. It is applied in specific areas, underlining the curve of the body, illuminating the bottom of a sleeves or ornamenting a collar like a jewel. Shadows and lines worked in fused monochrome draw the trace of vanished objects or awkward and charming sketches.

An ode to time and the force of nature’s transformations, highlighting the porosities and fossilization of wood into stone, for example, to create rocks and pebbles with incredibly rich textures and colors. Imaginary minerals where metallization is muffled in parts, where patinas, oxidations and corrosions are tamped into subtle flashes.

Sensitive imperfections that celebrate unconventionality and the preciousness of materials, and highlight a tremendous craving for materiality and subtle personalization.

* Mr. Mas Subramian : https://www.opb.org/news/article/oregon-state-university-color-blue-mas-subramanian-chemistry/

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