I’ve always had a vicious and somewhat unhealthy obsession with murder and quality fabrics. Having spent a lot of time with my grandparents, we could blame them for that. My grandfather is a retired doctor and a compulsive collector. In the little free time he had, he was taking me anywhere he could. My grandmother is wonderful, she is the most elegant woman in the world. My great-grandfather, Aldo, having served in the Royal Army, decided to move to London where they lived for ten years before settling back in Paris. From this, got born her love for the royal family of England, twinsets and detective novels.
So, I didn’t spend my Wednesdays at the park like all my other classmates. I took the 86 bus to Odéon where I went through medical encyclopedias, looking for images of purulent deformities, bones, and other bits of anatomy. I discovered cinema there and more particularly: horror, the supernatural, the thrill, the death, and the crime. Chabrol, Hitchcock, Buñuel, Agatha Christie and Maigret. I think that our childhood creates a prism of vision that later allows us each to create our own idea of the world, and such is mine: A cold and scary reality covered with a film of surreal humour. The worst and most difficult to understand crimes, take place in family. In this sense, I would like to present my MA collection as a Cluedo, where each silhouette has to be stared at. By leaving real and false clues, I want everyone to be free to conclude: Who is the victim? Who is the murderer? And what is the motive?
The collection is set in this family murder mystery, a crime that happened at dinner after a long day of fox hunting. Calais lace is a red thread throughout the collection a reminder of intimacy within the family circles as well as a traditional heirloom in France. The collection features classic pieces of the bourgeois vestiaire, such as the hunting jacket in wax cotton and a woolen Caban. Both are twisted, knotted, and wrapped up a clin d’oeil to the body bag. Notable styles of horse-riding garments are constructed with tailoring codes. Fabric is treated to enhance the feeling of uneasiness; The leather by Vicenza Pelli is left shabby at the hem, to remind of a bad taxidermist’s work.