This afternoon, a packet of buyers and editors can be seen crowding in its own way in the major store of Emilia Wiksted on Slone Street-not for a place of shopping for the school, it turned out, but to take in the designer’s new collection. Wiksted and his team had converted the space into a salon-style setup, with rows of elegant wooden chairs in each interconnecting room. For people familiar with the early days of Wikasted’s career, when he acquired the following by hosting the trunk show in his first store on Pont Street, it felt like a full-cycle moment. “I really designed the Slowen Street Store to become a show space,” he said in a preview. “I think it seems right where we are as a brand. It really feels that we all invite all to the house we have created.”
Wiksted also stated that it designed all glass and marble and sharp angles to recall a contemporary art gallery, which made it a suitable background for a collection, which gave her indications from the work of Robert Maplethorpe. Given some more memorable work of Mapplethorpe, stimulating, looking at eye-roping materials, it may look like an unexpected pair for a designer, whose elegant dresses are dear to Royals and Oscar winners. But Wiksted was hurry to tell that similarities are wider than you think. “Obviously he is known for the discovery of his radical sexuality and identity, but equally for his beautiful pictures of women, and using flowers as a metaphor to the body shapes, and a metaphor for the body,” he said. “I think his work is very emotional and romantic and poetic and sometimes depressed.
Wikhstid cleverly translated this feeling into a cloth, which could easily slot into his customer’s wardrobe: Earlier there was a series of plaid dress, which was chopped and layered and turned around the waist to make curved skirts around the waist, which was relaxed in a series of more structured dresses, which was a satisfactory. This “punch” factor came into a striking drop waist gown, which is slathed with bright yellow sequins and a royal blue bubble dress, as well as a handful of tomboyish looks or polo nits with jeans, with a grid-like chrys-crochests strips with more, and a more than a crucia Separating more business.
The moody palettes were direct references to the mapplateorpe, which were favored in some of some of the low-colored colors of the flowers-the relationship decorated with the ice blue, powder pink, buttercup yellow as well as black lace-up leather shoes and a print of lively orchids floating in a black ether. , ToskaWhich Patty Smith wrote about listening after repeating after the death of Maplethorpe. Wikhsteed also quoted Smith, as he was thinking while designing someone; Particularly in the ease and ease of her style, which was cut off from chiffon and excellently cried satin by Wiksted, as well as a common emphasis on loose, Breezi silhouette.
It says a lot about Wikasted as a designer, while she can easily rest on her laurel, largely professional and creative women continue beautiful clothes and sewing for their loyal customers, she still prefers to challenge herself. His customer is so loyal, after all, because she easily understands them. (Because, well, Wiksted himself is a creative professional.) And like Wikasted, who continues to push into the new field and finds an attractive ways to divert his broad cultural interests in his collection, understand that they also want to be challenged. The designer said, “I think all the pictures of Mapplaythorpe were always very commanding, and I think Emilia Wikested Woman is quite commanding.” “I didn’t want the collection to be subdued, but I wanted to find the right balance. Inspiration was very strong, but I also wanted to make it my own.” That he did. And to paraphrase another figure in the orbit of Mapplethorpe, it was a matter of pleasure to walk on the wild side for Wiksted.
