It is incredible to think that Rachel Scott launched Dietima a little four years ago. Since then, he has been named a runner-up in the 2023 edition of CFDA/Vogue Fashion Fund-that he won the CFDA award for emerging designers. He won the CFDA Womenswear Designer Award the following year. Then, just three weeks ago, Scott was declared as the new creative director in the Projenza Sholer, after the departure of the label founders: he showed his brilliant start for the label two days ago. Today she took Diyotima to the runway for the first time, giving a collection that promoted her rapid growth, but also made it simple that she was actually starting. (Yes, those color-fierce pumps, ornate sandals, and minimum thongs were part of their own shoes collection launched in the spring.)
In the greenpoint, inside a cavenus space, randomly collided in silver paper and paint with walls, we heard the sound of a crowd and the first steel pan. A model went out into a white crochet tank on a white bundo top, which matches the white crochet balloon trousers, which lay down under a skirt with cascading ruffles, and hood a crochet on his head. His face had a spot in his temples and his hair with silver powder. Scott was taking us to Carnival for Vasant.
“The final fall I was super angry – and I am still angry, but its expression is very different,” he said a few days ago from his show at his Chintown Studio. “I was looking at the Carnival in the Caribbean and Pravasi as this moment of resistance against the oppressive forces. It is a moment of resistance that lies in extreme excitement, joy and sexuality, and against any form of domination.” In particular, he saw Carnival in Trinidad, and saw the characters who reside it for inspiration. “This is another reason that we wanted to do a runway, because a carnival is a procession – it is a storm through space,” he said. But you will not find any literal interpretation of traditional costumes. Instead, Scott turned zero on different details that separate them: strange colored pairs such as guava and lime green or neon pink and gray; And the normal size and silhouette of costumes. She transferred all those that women can do – more importantly * – * exit in their real life. A small sleeve jacket came from the baby doll with a tonal melted pilate trim and a red skirt made of fake wings with a contrasting macrame “Peplum” around the waist. The sailor character that often leads the procession, appeared in unexpected places due to the square sailor collar, such as a tubular chainil trim on the matte jersey top that untouched around the body – to be one of the iconic pieces of the weather.
But Scott enjoyed the most when she took to the traditional carnival cage bra, which almost completely bare the body, as well as molding and outline. He moved the bra into a tinked jacket, in which additional deep portrait combined with wide leg trousers with collar, all with sex appeal and power. She also introduced bikini and Lux long long-sleeve swimwear in her signature micro-sequin design. In other places, the traditional wings were copied through the “sliced rayon bits” that survived after walking through the model. Scott never shy away from showing the body in their designs; Carnival provided the correct structure in which itself was pushed towards the new area.
“Carnival is super erotic,” said Scott. “It is a very sensual moment in the public sector and it opposed any kind of inequality.” Through the show, halfway, The Sound of Yoko Ono’s lament in the lament of passion (John and Yoko’s albums were taken from a track Dual imagination, “Kissing kiss”) filled the room – it was chutila and sent electric streams throughout the audience because the sound of sexual intercourse became more clear. After the show ended, another designer who was in appearance said, “It was great – Wils was having fun!” We were.
