Green was a starting point and they were
like light in the sea of darks, visible but not blinding. Layering was key too.
Fabrics overlapped one another like flutters of light streaming across the sky,
intercepting each other as they glide across. Zippers had multi-coloured teeth
made to mimic the elusive spectrum of the northern lights. But that wasn’t all.
Ashkenazi’s son who was on the trip had a
part to play too. His interpretation of the northern lights in drawing became a
print and embroidery in the collection.
On first impression, one might view it as
childlike and ask how could a child’s drawing be applied onto a high fashion
canvas? Seeing is believing. The result is a masterful piece of fragmented
prints that when set in place on a fabric, provided a sparse splatter of faint
visuals. They were like impending stars against the colours of the northern
For a storied house like Vionnet, a burst
of exuberant colours was far from the cards. Instead, Ashkenazi stood grounded
with references to Vionnet’s signature aesthetic.
Drapes as usual were generous. The
difference this time was that they seemed to have some sort of a free movement,
as they found their way around dresses as if caressing a woman’s curves. Sometimes
fabric overlays were tagged at certain points, some hanging by just a few
pieces of thread. Restricted as they were like charged particles lodged within
the night sky but full of fervour when unleashed.
And we see it all so clearly.