The Tamesis
Zhang Huishan still maintains a methodical attitude when designing collections, even in the middle series such as the resort series and early autumn series. He collected various references covering art, architecture and film and picked a muse; this time it was Marella Agnelli. The results of this approach are rarely direct; he likes to create a mood and set a scene that expresses what he is feeling when designing.
The life of “Swan” Marella Agnelli in the 1960s led him to the idea of ”transformation”. That means focusing on layering, like wrapping a cardigan in super-soft cashmere over a dress or pairing it with an embellished pencil skirt. “I imagine she would be wearing this dress now,” he said of Agnelli. “I wish I could meet her.”
Common elements – floral tapestry, appliqué and embroidery – are amplified: expressive and three-dimensional. Richard Avedon’s portrait of Agnelli featured long silhouettes on the upper body – tops with layered ties and tailored trousers had a new feel here. The closing gown, made from a lightweight crepe jersey fabric and therefore more body-hugging than Zhang’s angular, voluptuous signature garments, was a fresh proposition in the gown category.
