Stella Jean created his new collection with Hiratian artisans, many of which have lost their homes, workshops and a sense of stability, although not their souls, for crime. “These are my Buffalo soldiers,” Jean said, Bob Marley to borrow the metaphor of her women who worked on the project. Cap-hayetien was shot in the city, and cooperative design practices, aesthetic coup D’TATAT with their commitment to the designer’s Italian-Hetian roots with their commitment to D’TATAT, as he called a new offer, is the way to give him a lot.
The collection stems from a reflection on uniformity and autonomy, especially the occurrence of historical relations with Haiti’s Western Dress Code and the export of secondhand clothing, locally known as ‘Pepe’. The staple of the euroosentric masculine dressing was re -prepared by the gene: the bandna decorated at the front in striped cotton poplin shirts was painted, while the trenches of the beige were made canvas for hand painted, colorful accents. The cap was a major feature; Standout is a modern tech on the traditional long high -tail headpiece, one of Haiti’s most reputed designers on the night before shooting by Michelle Catching. While Rang had played a framing role, the silhouettes were sharp, still generous, often symbolized with visible belts. With oversized hats, Golden Creol earrings -Laarge and Round -Sembolized flexibility, strength and identity.
More than a collection, it was a cross-cultural capsule in the main functioning of the gene: “It can be a megaphone for those who live in one of the poorest countries … maybe fashion can be something else again, something that helps someone to open, visible and survive.”
