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Sterling Ruby’s sense of American Quilt has recently been frayed and strained by the tension of events, besides being clouded by memories and a grim foreboding. Many in the United States shared this sentiment, but in her first presentation on the Paris Couture Week platform – “it’s an honor,” said Ruby – the contemporary artist who incorporated the design of fashion in its wider patchwork of practices was uniquely equipped to express it.
Who were these spirits in period silhouettes (exaggerated, blown up and sometimes collapsed) whose surfaces were churned with thread, paint splashes and a hot-pressed photo collage of hot rod details and artificial heart sections ? In the video (designed just a few weeks ago to replace the originally planned show), they digitally haunted the backdrop of a Los Angeles paintball class beyond which was overlaid occasional footage of a rustic graveyard. . The footage had actually been shot by Ruby some time ago and then deposited in her archives for a then unforeseen use that had only become apparent now. These lookbook images were taken on January 19 at the Vernon, Calif., Studio complex from which her gradual expansion into fashion design – excellently reported here – was distilled into action.
The looks, Ruby said, were “apparitions” whose appearance personified aspects of the American past and the American present. The Pilgrim necklaces and beanies were references to England’s early separatist entrants – persecuted who became colonizers – as well as the Mennonite and Amish neighbors whose costume so struck Ruby as a child in southern Pennsylvania. Beyond those Ruby (he was skating) glued skate pants against the business suit, against the workwear, against so many things that through look 19 his benchmark and technical pentimento collapsed under his own weight towards the web of gravity.
It was tailoring, an illustration of the hand, and there were tailoring items in the traditional sense where they were hand-cut and fashioned to haunt conventional representations of femininity. These ghostly pieces included dresses folded and wrapped in an opaque fabric with the outlines of twisted roots of multicolored yarn and winged-arm dresses in gathered and gathered chiffon that was rinsed and enzyme-dyed and designed to appear touched by friction and friction. experience. As with her first collection at Pitti in June 2019, Ruby collaborated with his wife Melanie Schiff to pose her abstract and layered photographs of texture and surface on her hand-crafted texture and fabric surface collages.
The bags made in Italy were titled “instrument cases” and their shape suggested that they were designed to contain something ambiguous, specific and vaguely threatening. The shoes colonized the Pilgrim pump with a punk pin. On the soundtrack of the video, Michael Gira sang “Promise of Water”, saying, “Just like it was / that’s how it will be.” This thrilling experience of American tailoring convincingly challenged this fatalist’s prophecy, but you could understand where he came from.
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