VenusMerch - Official Sapphiccworld I Let Femmes Top Me Shirt
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Glenn Martens, the wizard de/reconstructionist behind the label Y/Project, is patiently standing outside the church of Santa Maria Novella. It’s the venue for his Pitti Immagine show, and while he’s waiting to gain access to the space, he has taken the opportunity to chat about the experience thus far, 24 hours before showtime. Of course, in one major way, Florence has already thrown open the doors to Martens; he’s the guest menswear designer on this season’s calendar, given carte blanche to show his fall 2019 men’s whichever, and however, he wants. The invitation was well-timed, and not just because Y/Project has in the last year or so shifted from insider name-to-drop, show-to-go-to status to center stage, but because Martens, a restless and inventive designer, has been challenging himself to constantly re-think and re-imagine what his label can be. (Consider the drop dead elegance of his spring 2019 women’s.) And while he’s always inordinately chatty, one thing he wouldn’t say too much on were the specifics of the show experience—though he promises it definitely will be one.
The best ideas are often hiding in plain sight. It explains why a designer’s top-selling pieces are usually the ones she spent the least amount of time agonizing over, and it certainly applies to Milena Silvano’s collection of upcycled, pieced-together sheepskin coats. Silvano’s brand wasn’t really supposed to be a “brand” at all: Back in 2012, she found herself with a stockpile of vintage sheepskins and clothing for a project that didn’t come to pass, and she couldn’t exactly justify throwing it all out. “I just wanted to make use of what I had,” she explains on a call from Sussex, England. “I was taking these vintage coats apart, cleaning them, and rebuilding them into new styles, which created this patchwork aesthetic. I started to really enjoy it, and then I had this aha moment to actually develop it into a collection.”
A brace of former bedrooms is now subsumed by racks of garments that might trigger design ideas—pieces from her own wardrobe or finds from decades spent trawling the Portobello Road and London’s quirky vintage stores. The giant inspiration boards that line the walls of the Givenchy studios are photographed and printed out to a manageable scale for Waight Keller to work on here, too (she often wades through 1,000 images to arrive at the 50 she needs). “Visuals are so critical to getting the mood and to everyone understanding it,” Waight Keller says. “It’s important to have the right information around you—and it’s nice having a completely silent space that’s just mine to think over everything.”
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