As Paris’ top houses take to the runways again with their fall couture collections, an emerging generation is already waiting at the sidelines, experimenting with cut, developing the possibilities of knitwear and even integrating high-tech components into their work.
Despite the fact that 2020 saw him graduate and put his name on the fashion map when Lady Gaga wore one of his designs on the cover of Billboard, Brocca felt he needed to make a bigger splash. “Without the symbolic closure of graduation, I needed a way to actually prove myself in this industry. I don’t want to be forgotten,” he said.
“As an emerging designer, it’s important to push notions of construction and explore pattern cutting. We easily forget what technique means in our generation, because [the image of fashion in] pop culture is about hype,” he said. Within the kaleidoscopic Hall of Mirrors at the Musée Grevin — built for the 1900 Universal Exhibition — the fluctuating lights in her designs twinkled back infinitely from walls and ceiling, creating a mysterious otherworldliness. The concept was inspired by The World card, the final arcana in the tarot deck, representing the end of a cycle. On the card, a central feminine figure is surrounded by the four elements — earth, water, fire and air.
Louise Lyngh Bjerregaard also long had Paris in her sights. Seven weeks ago, the Danish designer left Copenhagen with just the keys to her new Paris studio in hand. “There was an opportunity to get this space and I just jumped at it,” she said, a few days before her off-calendar debut show.
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