The Tamesis
After a show in London last September, a visit to the British Isles, New Zealand’s birthplace, meant that homing instinct translated into his autumn collection. “We have a connection with Harris Tweed,” the designer said of the traditional fabric, which is strictly regulated and protected. That visit to the windswept Outer Hebrides of Lewis and Harris provided some inspiration for Docherty, who is of Scottish descent. “It’s really inspiring to see the level of craftsmanship that has been around for centuries,” he added.
After witnessing first-hand how single-origin wool is hand-woven on a loom, he used pastels and oils (Docherty’s usual first step in creating a collection) to recreate abstract renderings of the iconic herringbone V shape. He “exploded” these into silk shirts and ties, a dress with a tiered bubble skirt, and a gorgeous silk velvet coat with a shawl collar and exaggerated shoulders that have accentuated the past few seasons. In Docherty fashion, he hired local quilters and stuffed them with 100% New Zealand wool (to support local makers, he also included glass-blown beads, Scottish cashmere and work from Indian handknitters). He wanted to step up the craftsmanship but focus on something practical and durable. “This is what I want in clothes: a balance of practicality and poetry,” he said.
That’s why his pieces evolve gently each season: he makes them durable, like the blue velvet jacket he inherited from his father, which has been in his wardrobe for 47 years. Although his look followed the drapes and broad shoulders of the ’70s and ’80s, he infused the pieces with a warm air. There was more coverage this time, with loose funnel collars, brushed wool capes, purple heather bloomers, and shirts constructed from intricate cotton pinstripe loops and pleats that could be zipped into the hood.
Doherty is a handmade, tactile designer who brings a human touch to eveningwear materials by pairing embossed velvet with a black tunic or with a utilitarian suit. The idea was to take a fabric you would normally treasure and create something that could be balled up and thrown into a suitcase, then taken out and whipped. The same goes for taffeta in champagne, dusky pink, amethyst and sky blue, with colors inspired by the iridescent dancing sea foam that catches the light.
The thread through all of this is a sense of connection, particularly emphasized by a piece clad in trapezoidal panels of New Zealand ebony made by Docherty’s collaborator, designer Jordan Draffin. The pattern draws on Māori and Scottish heritage, imitating traditional tukutuku paneling, traditional Māori weaving art and the shape of the Harris Tweed herringbone pattern. “It’s a very unique model, but it’s kind of like a parallel that connects all cultures. I think that’s a really lovely thing, especially right now,” Docherty said. Designing with heart and heart is an inspiring proposition, and one that his clients echo.
