In contrast, Vivian Lynn, who works under the Bibi name, embraced dark and scary as a means of catarsis. “I want to make the unknown human. I invite the audience to consider destruction as destruction,” that’s how he put it. Its voluntary design, which looked like exoskeleton adorned with organic shapes of internal organs, was made with dense (felted wool and towel), sticky (latex, wax), and unpredictable (calep and mold).
Tracy Zhang’s diastopian collection brought together blade Runner With a living experience, 2013 of Beijing “Airpocalypse.” Zhang was very young and woven in the mystery and sadness of this incident, it was a sense of curiosity. “This collection reflects the spirit of adventure work again, going back to my childhood imagination, and at the same time, it reveals the complete cruel reality of the post-epoclicy landscape,” she wrote. Using renovated materials such as foam and fox-fur, he designed clothes that were alternatively existentialists and slightly dreaming, as described in a look made of household textiles as a Rococo vibe.
Olivia Rose was inspired by the Unduration Ocean in Rose Forenier, which also informed his palette. A dress with side tuck that was similar to the overlapping scar of sand water, or a scallop shell was notable. “Through my work, I assure. Life is full of changes, like the ocean, but hopefully everything will be alright,” he wrote.
Serenity was a quality that illuminated the very delicate work of Anna Winters, which was out of familiar material and family relations. The process of her process literally was home -spoon: “Many of the garments developed in this collection were made by hanging vintage textiles – in the family’s heroom – in the window, allows the light to pass on these pieces and clothes or fabrics, where the cast pattern was then discovered,” he explained. He captured them through the handwork, most of them taking into account his interest in tone-on-tone, and extremely subtle, “gentle, nondeskripts, even the subconscious acts of the monument”. To cool down all of this work, the vintors cut a memorable pair of pants.
Like winter, Jordan Wang also considered “everyday”, but in the context of “identity crisis and cultural anxiety” and in relation to contemporary Chinese art. “Large-scale commodities-high, abundant, and neglect with me. She changes beauty pain by using techway plastic tots to create romance and drama filled with drama.
