A week ago, Tolu Cocker was declared as a semi -finalist at this year’s LVMH award, one of the most prestigious praises of the industry. This is a tremendous moment in the career of any young designer, and a source of personal verification and pride. For cooker, however, praise stands for more than itself. “I think it is less of verification negotiations for me and more equity conversations,” he said in a preview before his fall presentation. “A large part of my messaging has always been inherited to redefine luxury by returning it. And often it is the inheritance of communities that are traditionally not documented or traditionally not considered to be sufficient or valuable to be present within the location. Arriving to the semi -finals seems to be an affirmation for an entire community of people, saying that these stories, this legacy, this craftsmanship – this is luxury. ,
Cocker reported that the collection was given the title of “Ori” -Yoruba for the “Head”, which shows a spiritual concept about birthright and everything, which would be born with one’s aura, self or soul It is, “Cocker explained. It was a brief book of luxury designer’s parameter-shifting vision. The model was kept about space, beautified, many people Holding the stems of cotton flowers, a conscious call of this process by which many clothes came into life and certainly, the charge of cotton is the history of the latter Nina Simone’s “Strange Fruit” -Later. Was done, which removes the magnitude of racist lynching in American history, which is played in the background and mainly by black casting of the presentation.
However, instead of being moroz or extremely heavy, the collection is read as a dignified function of reconsideration and eventually, celebration. Experts came up with a shirt-dress inbuilt corset and flouted hem, and crisp white poplin, muted tafetas and duchess were executed with graphics in satin You were seen on Ankara’s clothes. The Lapel-Less Silavya Kamarkot came with the head of the exaggerated sleeve; The description of the princess seam in the Celvades denim shirting was that the shape was skimped from the grace.
These were clothes that were sitting within familiar parameters of British heritage design, but who questioned the inherent associations of thought. “Even when I talk to people today, they automatically assume that I design games or streetwear,” Kocker said, “but whatever I do is really really The British is in heritage. The general perceptions of Britishness rarely migrate in contemporary, ” This I want to confirm that these stories have value. “
