027: Haute Couture Imagination & Post-Adire

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DISPATCH 027 —

This week, we take a turn in Los Angeles ‘newest’ gallery, address arguments for appropriation, and count the number of Diotima dresses on the red carpet in Kingston, Jamaica. Plus: a review of Lagos Space Programme and a Mexico City first for Amoako Boafo. But first, a pit stop in Imane Ayissi’s savoir-faire…

HAUTE COUTURE IMAGINATION

Cameroonian Imane Ayissi is one of the few to consistently show on the Haute Couture calendar, which is officially and exclusively managed by the governing body Federation de la Haute Couture et de la Mode. The rules as to what qualifies as couture are as specific as you might expect, including employing at least 15 full-time staff in an atelier to design made-to-order clothes for private clients. While the historic stalwarts in French fashion remain (Chanel, Dior, and Jean Paul Gaultier to name a few), newer and younger brands have been steadily making a place for themselves amongst the highest echelons of the industry, including Ayissi, who opened the Spring / Summer 2024 Haute Couture season last week.

His showing highlighted an array of his growing signature fabrications that have come to define his elegant and timeless approach. In a dash of raspberry, Ayissi reimagined raffia in angular waistlines and handkerchief hems. In another look, he played with fringe at scale via a razed black silk-wool dress with raw panels cascading on the ground. On styling, the overall collection could have benefitted from a more unusual tack to appeal to a broader audience, but as are with such gems of high quality, Ayissi is perfectly comfortable dressing his private clientele, who also just happen to be legends in their own right (see Angelique Kidjo and Lauryn Hill among others). These are the ones who can actually own a piece of haute couture, made especially for them.

MORE ON MENSWEAR

Lagos Space Programme has long been whispered and observed with curiosity by many insider fashion folks and outsiders. Founded by Adeju Thompson in 2018, his latest showing towards the end of Paris Men’s Fashion Week felt like the whisper had turned into an audible shout.

With support of Reni Folawiyo (behind ALARA) and Mobolaji Dawodu (of GQ Style), the winner of the 2023 International Woolmark Prize has more than enough pressure on his hands. As is the case with many young designers receiving recognition early as an emerging talent, finding the infrastructure or support to maintain the momentum and the much-needed sales can prove to be the more challenging endeavor.

However, Thompson seems keen on longevity as evidenced by a 14-piece collection that was distinctly wearable and yet, innovative, melding effortlessly into an existing wardrobe. As discussed last week, sometimes the secret to runway success is in the making itself. The time-worn techniques, including hand painted post-adire, that both honor the craft and heighten the possibility of the craft, have served him well.

Two of the standout pieces weren’t styled on men at all. One, a floor-length knitted coat of dark natural fibers felt right at home paired with leather pumps and an open white button-down shirt. The second, a cape leveraging the resist-dye technique had wide-cut pleats, creating this voluminous effect on the bottom without all of the heaviness.

As a natural evolution from prior seasons, the deconstructed tailoring, especially in this oversized jacket paired with palazzo trousers, informs a way of dressing for Thompson, who plays with non-conforming ideas. It speaks to the type of person Thompson is interested in dressing as well as dressing for himself. Styled by Ola Ebiti, the looks felt super contemporary while still being future-thinking. 

Thompson is finding his stride and here’s hoping the right stockists and press can bring his vision to larger audiences. See the rest of the collection here.

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ON OUR RADAR

Mariane Ibrahim is bringing the hotly watched artist Amoako Boafo to her Mexico City gallery for his first solo exhibition in the city (and his third under her representation) starting on February 7. Expect to see the finger-painting technique that made Boafo famous on full display in a series of new works as well as some burgeoning explorations using mosaic and stained glass. (Link)

From Lagos to Los Angeles, Rele Gallery opened its first US outpost on Melrose in West Hollywood back in 2021. Cheers to their new address (and expanded space), thankfully just ten minutes down the street. (Link)

Arguments for appropriation were made during the tail end of Paris Men’s concerning Dakar-based Tongoro Studio led by Sarah Diouf and Paris label Balmain under Olivier Rousteing. Opinions aside, it brought to mind a similar outcry from Tongoro Studio versus Saint Laurent back in 2017. (Link)

Diotima dressed a few stars and extended circuit, including Bob Marley’s granddaughter Zuri Marley for the Kingston world premiere of Bob Marley: One Love (opening February 14), which seemingly Harry and Meghan were also in attendance for, where she opted to wear Carolina Herrera. (Link)

Stockholm-based skincare brand Melyon collaborated with Art Comes First, an art collective founded by Sam Lambert and Shaka Maidoh, for a functional product fusing wellness and artistic expression. The versatile soap, with requisite brand embossing, comes housed in a hand-crafted recycled aluminum case designed for ease at home and on the road. (Link)

Keeping up in a run of good sales, Ahluwalia is hosting its first archive sale on February 1 in-person in London. Free and VIP tickets available now. (Link)