Praise for this digital moment in fashion is all you want, but of course there’s a reason we’ve been running around Paris all those years looking at clothes in person. On a video call from their studio rue François 1er, Lisi Herrebrugh and Rushemy Botter did their best to show through the screen the clever techniques that explained their pre-collection Nina Ricci. You would never understand from looking at the pictures, but every scene was “full of view,” as Herrebrugh put it; single garments collected from several collected ones. It was a look that resembled a skirt and a jacket, for example, one single coat.
A trench coat of a different color was built as the basis of three separate pieces. (If the idea of wearing an outdoor coat promoted flasher associations, Botter said he would recommend styling it with a tight skin roll neck.) But that wasn’t it. Motivated by the discontent of these contraptions, the designers decided;trompe l’oeil effects within their products. In one case, a panel on The Prince of Wales’ check coat was overlaid in georgette, creating a sense of filtrage that tricked the optics. In another case, they had printed a check wool pattern and effect on richer and more flowing fabrics to darken the eye.
Herrebrugh and Botter gave their views on Nina Ricci’s brand identity after the war. “You can’t compare this to a post-war period, but we have to deal with less clothing,” said Botter, referring to the broken supply chain that has been around for the year. explained past in fashion. This collection was, as might be expected, almost made and repaired, as Herrebrugh put it, “but more of a design idea: a choice.” Sensibly, he summarized many of the topics that have recently defined our lives, from the practical and comfortable approaches to locking-inspired clothing, to reality vs artifice narrative to which we are always coming up against the digital age. In real life, the clothes would be revealed. Through a screen, they were completely deceived.