#14 the romant
In the mood for lace
In the age of the Internet and globalization, the reign of the digital image is at its peak. Image and fashion are now languages within the reach of all. Smartphones and social networks allow everyone to produce and distribute their selfies around the world. The self-narrative and the self-styling of one’s own image open the way to pluralism in clothing trends. The invention of style is no longer limited to the artistic vision of designers, but rather is seen in each person’s daily self-expression. Thanks to fast fashion, the whims of fashion are finally accessible to a wide audience.
As a counterpoint to the frantic pace of changes in trends – set in motion across 200 years of industrial history – today a desire has been born to rediscover a time when the rhythm of consumption was in perfect harmony with that of nature. A quest for meaning, authenticity and timelessness invites us to rediscover traditions and the savoir-faire attached to them. To reinvent themselves, fashion and the visual arts draw on their archives, and across the globes, artists, craftspeople and designers revisit their stories and integrate the local specificities of their heritages.
The nostalgic aesthetic of Wong Kar Wai’s In the Mood for Love (2000) and the spirit of Maggie Cheung’s traditional qipaos offer the viewer a vision of the tension between East and West, between the past and the present. Leavers lace itself, rich with its 200 year history, likewise achieves a balance between the frivolity of fashion and the strength of a deep know-how passed down from generation to generation. In Calais and Caudry, the lacemaking industry today is able to take advantage of not only the fruit of its rich archives but also the capacity for infinitely-varied creation that characterizes each of its manufactures.