The Hyères prize is as good a litmus test for fashion’s future as any design competition can be. The likes of Viktor and Rolf, Gaspard Yurkievich and Felipe Oliveira Baptista have debuted at the innovative festival, so it is no shock that this year’s contest introduces us to some idiosyncratic talents. Among them, winner Alexandra Verschueren stands out as an exceptionally individual voice. Looking at her collection it is easy to see why she won the competition; origami inspired fashions have become increasingly popular in recent seasons, but at their best Verschueren’s pieces eschew the trappings of their paper inspirations. There are strange and intriguing new shapes, but there are also smart updates on classic pieces, like the cocktail dress that looks as though it was reshaped by pinking shears, or any of the one of a kind coats. Their range breathes fresh life into the simple concepts; everyone will be wearing a camel coat come fall, but how many boast geometrical frills remniscent of wearable graph paper? The strength of Verschueren’s work lies in its ability to elevate these normal staples into something magical.
WOW.
I wish my first impression was something a little more thoughtful than that, but it’s not. Seriously, most of those pieces don’t even look like they’re made of fabric, particularly that first white coat with those incredible sleeves. They almost look like an Art Deco wall sconce or something.
These are the kinds of clothes that beg to be seen up close and inside out. I’d love to know if they’re as rigid as they appear to be.