J oš pre karantina Dže- remi Skot je za prole- će želeo da oda počast visokoj modi. Da obra- di taj emotivni, taktil- ni osećaj, posvećenost detaljima, razradu ideja. Proučavajući istori- ju dizajna u momentu kad je po- stalo izvesno da se kolekcije neće prikazivati na revijama sa publi- kom, Džeremi je rešio da u stilu Pozorišta mode ( eatar de la mo- de) napravi lutkarsku predstavu. Inače, Pozorište mode su osmisli- li pariski dizajneri posle Drugog svetskog rata kako bi spasli svoje poslove. Putovanja su bila nemo- guća, pa su na put slali grupu mi- nijaturnih kolekcija. Modeli su prvo napravljeni u prirodnoj veličini, a onda umanje- ni na veličinu lutke. Svaki komad, tkanina i motiv morali su proporci- onalno da se prilagode dimenzija- ma marioneta a da ne izgube auten- tična svojstva materijala. Džeremi je ostao dosledan sebi, uzbudljiv i prenjen u isto vreme, a mi smo dobili autentičan doživljaj modela bez održane modne revije. S jedne strane u duhu savremenog onla- jn života i Instagrama , a sa druge strane reviju na kojoj se nije trošila struja, nije bilo reke crnih limuzi- na koje zagađuju vazduh, izostale su toalete rađene samo za šetnju do revije, šminkanje, friziranje, re- ektori i svi oni tako očaravajući, ali u isto vreme tako štetni mo- menti bez kojih se revija ne mo- že zamisliti. Za kraj, kakva god da nam je budućnost, Džeremi nas je podse- tio da ljubav prema modi neće tako lako nestati, ali možemo da prome- nimo pristup, smanjimo zagađe- nje i da u isto vreme biramo manje komada koji duže traju. Planeti će to od mode biti sasvim dovoljno.
MOSCHINO AT MILAN FASHION WEEK Jeremy Scott’s dolls and rags The new Moschino collection was presented in the form of a dolls theatre. Puppets strutted their stuff on the catwalk, while in the first row sat dolls modelled on the famous ladies to whom these seats would have ordinarily belonged
by Parisian designers after World War II in an attempt to revive their industry. It was then impossible to organise travelling, so they sent a group of miniature collections on the road. e designs were initially made in life size and then reduced to a size to fit the dolls. Each item, fab- ric and motif had to be adjusted proportionally to the dimensions of the doll, without losing the au- thentic properties of the materi- als. Jeremy remained true to him- self, both exciting and at the same time refined. And we gained an au- thentic experience of the designs without a live fashion show. On the one hand, the show was held in the spirit of modern online life and Instagram, while, on the other, it was a show that didn’t consume masses of electricity and didn’t in- clude a river of black limousines polluting the air; there were no gowns created for the sole purpose of walking to the show, no make- up, hair stylists, spotlights, and all the rest of those enchanting but simultaneously harmful elements without which a show cannot or- dinarily be imagined. And in conclusion, whatever the future holds for us, Jeremy re- minded us that the love of fashion will not disappear so easily. How- ever, we can change our approach, reduce pollution and at the same time choose fewer pieces that last longer. And for the planet that will be quite enough from fashion.
E ven before the glob- al lockdown, Jeremy Scott wanted to use his spring collection to pay tribute to haute couture; to process that emotion- al, tactile feeling, commitment to details and elaboration of ideas. While studying the history of de- sign at a time when it became cer- tain that collections wouldn’t be presented at fashion shows with a live audience, Jeremy decided to make a puppet show in the style of the éâtre de la Mode. Interest- ingly, the éâtre de la Mode, or eatre of Fashion, was designed
Tekst/Words: Sofija Kuzmanović Fotografije/Photography: Profimedia.rs
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