A year and a world ago, Idris Balogun debuted Winnie in Paris—a euphoria that lasted just days, tops. But even in his bluest moments since, the designer said over Zoom, he has been able to reconnect with why he fell in love with fashion in the first place: hand craftsmanship. Even the parts he never particularly relished, like sewing buttonholes, offered time for introspection.
“Art is so central to their way of life and thinking,” noted Balogun. “I think creative directors risk getting lost in the direction part. What interests me with Tau is being the conduit. I don’t want to just make a clothing version of her work.” In a similar vein, “liquid” silk velvet gained structure through Balogun obsessing over things like shoulder roping until it fell perfectly. The designer readily admits that piece is an ode to his time in Mr. Ford’s studio. The elaborate simplicity of a minimalistic black slip dress is the result of untold hours spent studying and draping a single sheet of fabric. “I want to encapsulate the idea of form. I never try to complicate things with cut,” he explained.
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