“Sometimes, there is a detail or a mistake that ends up being a starting point.”
“I like to surprise myself,” Jemmely said. “Sometimes, there is a detail or a mistake that ends up being a starting point.” Dubbed ‘Elle était texte par l’intelligence du regard’, Jemmely’s graduate collection started with her muse displaying three facets of her personality: the contemporary archetypal figures of the businessman, the woman and the baby.
The designer worked on these clichés to develop a sartorial wardrobe made of traditional garments, while trying to blur the lines between womenswear and menswear. The garments are deconstructed or in progress to reflect our constant search of identity. She analysed the cliché of the businessman in details to introduce it in the collection: what he wears, how he wears it, his attitude, his habits. Anthropological research meets fashion design in Jemmely’s graduate collection.
“I played with codes,” explained Jemmely. “They are highlighted, expanded, deconstructed or turned over. I like to deconstruct clothes in order to highlight the idea of unfixed identity.” All these clichés were represented in a painting Jemmely worked on beforehand, making it an extension of her work as an artist. “The inspiration came from one painting in particular,” she said. “It’s about the constant war between someone’s facets.”