The designer referred to his graduate collection as, “Wear and Tear,” a double-edged figure of speech which mirrored the fragility of his constructs and hinted at the shared psychological toll of the pandemic.
London fashion week was mostly a launchpad for new-generation menswear, but one delicious moment for women popped up in a video and lookbook by Brandon Choi on the digital schedule. Choi is an outlier amongst the graduate class of 2022, a designer obsessed with Parisian haute couture, who pieced together his inspired collection from toile canvas, pattern-maker’s paper, packaging tape, scraps of fabric, “and cardboard boxes that kept on coming through the door during lockdown.
A chic kind of magic transpired: delicate raw-edged corsets engineered from paper and canvas; a semi-transparent crin dress with an airily puffed neckline; an asymmetric red skirt bouyed by a cardboard pannier; and another really extraordinary silver-gray twisted skirt whose spiraled folds seemed to be spontaneously caught in movement at the very moment that Choi had draped it. “I’ve studied and admired ’50s couture silhouettes, of course I do,” he says.
Wittily, he called his graduate collection “Wear and Tear,” a double-edged figure of speech which mirrored the fragility of his constructs and hinted at the shared psychological toll of the pandemic. “Obviously, when I was making it, we couldn’t go out to buy things, and I was receiving a lot of packaging which just piled up, and some really beautiful things I bought on eBay which people had personally wrapped with colored tissue paper.
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