Moschino » Moskino | 47 Još pre karantina Džeremi Skot je za proleće želeo da oda počast visokoj modi. Da obradi taj emotivni, taktilni osećaj, posvećenost detaljima, razradu ideja. Proučavajući istoriju dizajna u momentu kad je postalo izvesno da se kolekcije neće prikazivati na revijama sa publikom, Džeremi je rešio da u stilu Pozorištamode ( eatar de lamode) napravi lutkarsku predstavu. Inače, Pozorište mode su osmislili pariski dizajneri posle Drugog svetskog rata kako bi spasli svoje poslove. Putovanja su bila nemoguća, pa su na put slali grupu minijaturnih kolekcija. Modeli su prvo napravljeni u prirodnoj veličini, a onda umanjeni na veličinu lutke. Svaki komad, tkanina imotivmorali suproporcionalno da se prilagode dimenzijamamarionetaadane izgubeautentična svojstvamaterijala. Džeremi je ostao dosledan sebi, uzbudljiv i pre njen u isto vreme, a mi smo dobili autentičan doživljaj modela bez održanemodne revije. S jedne strane u duhu savremenog onlajn života i Instagrama, a sa druge strane revijuna kojoj se nije trošila struja, nije bilo reke crnih limuzina koje zagađuju vazduh, izostale su toalete rađene samo za šetnju do revije, šminkanje, friziranje, re- ektori i svi oni tako očaravajući, ali u isto vreme tako štetni momenti bez kojih se revija ne može zamisliti. Za kraj, kakva god da nam je budućnost, Džeremi nas je podsetioda ljubavpremamodi neće tako lakonestati, alimožemodapromenimo pristup, smanjimo zagađenje i da u isto vreme biramomanje komada koji duže traju. Planeti će to od mode biti sasvim dovoljno. Tekst/Words: Sofija Kuzmanović Fotografije/Photography: Profimedia.rs MOSCH I NO AT M I L AN FASH I ON WE E K Jeremy Scott’s dolls and rags The newMoschino collection was presented in the form of a dolls theatre. Puppets strutted their stuff on the catwalk, while in the first row sat dolls modelled on the famous ladies to whom these seats would have ordinarily belonged Even before the global lockdown, Jeremy Scott wanted to use his spring collection to pay tribute to haute couture; to process that emotional, tactile feeling, commitment to details and elaboration of ideas. While studying the history of design at a time when it became certain that collections wouldn’t be presented at fashion shows with a live audience, Jeremy decided to make a puppet show in the style of the éâtre de la Mode. Interestingly, the éâtre de la Mode, or eatre of Fashion, was designed by Parisian designers after World War II in an attempt to revive their industry. It was then impossible to organise travelling, so they sent a group of miniature collections on the road. e designs were initiallymade in life size and then reduced to a size to fit the dolls. Each item, fabric and motif had to be adjusted proportionally to the dimensions of the doll, without losing the authentic properties of the materials. Jeremy remained true to himself, both exciting and at the same time refined. And we gained an authentic experience of the designs without a live fashion show. On the one hand, the show was held in the spirit of modern online life and Instagram, while, on the other, it was a show that didn’t consume masses of electricity and didn’t include a river of black limousines polluting the air; there were no gowns created for the sole purpose of walking to the show, no makeup, hair stylists, spotlights, and all the rest of those enchanting but simultaneously harmful elements without which a show cannot ordinarily be imagined. And in conclusion, whatever the future holds for us, Jeremy reminded us that the love of fashion will not disappear so easily. However, we can change our approach, reduce pollution and at the same time choose fewer pieces that last longer. And for the planet that will be quite enough from fashion.
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