” I feel every day when I’m in the garment district it’s a battle, so I wanted to do something that was a little bit autobiographical, and I did n’t want to do a full take on military”, explained Andrea Mary Marshall of her tightly edited, body conscious collection. The designer is speaking to every woman when she tells her own story through clothing and in self-portrait Polaroids ( Marshall also maintains a fine arts practice ). A majority of creatives adopt a sweet, defensive position, with security being the main concept of the season. Marshall is among the some who have taken a strategic, offensive stance. Hers was modeled on Joan of Arc, and expressed most powerfully through tailoring’s soft weapons. The contemporary lady suit up in style to show up, she wrote in her push information.” Just as Joan of Arc wore men’s weapons into war. ( The designer said she had recently read Anne Hollander’s excellent Sex and Suits. )
Marshall has been a fan of the 1980s for a while and has continued to do so for the collapse. Grace Jones, Madonna, and Jean Paul Goude’s images of Farida Khelfa were on her moodboard, and she had been thinking especially about the work of Claude Montana and Azzedine Alaïa ( see the next- body hooded jersey clothes ) without being immediately referential. As at Norma Kamali, the swimsuit provided a foundation to build around.
The artist showed off the exterior bra cups on a snug coat dress and blazer with a wide-heeled pair of pants last season, as well as the wider-angled ones she introduced. Despite this shock, Marshall’s job has a slight can-do American feel, which is fitting given that the brand’s name derives from the Salon where John Singer Sargant’s portrait of Madame X, Virginie Amélie Avegno, was displayed. The sexual implication in the artwork caused a controversy, and there’s a bit of come- thy shiver in this selection, too, suggesting that sometimes like ( or at least lust ) can conquer all.