Thursday, June 8, 2023
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Hodakova Spring 2023 Ready-to-Wear

Contrary to popular belief, fashion people do eat— — At least many who attended Ellen Hodakova Larsson’s first fashion show in Paris did. There were napkins and forks at every seat; at the end of the show was a multi-layered white chocolate cake that was tucked into after the show by models and guests, some with the cutlery provided, some with their fingers. Why cake? “Well, I think it’s time to celebrate this way of working [handicrafts that make heavy use of existing materials], rather than just seeing the industry as a business,” Larson said. “I think fashion brings joy — that’s why you start doing it, so I really want to bring that feeling back. I’m also proud that we’re actually doing that and that we’ve spent so much time together Doing it, our little team, so the cake is just to celebrate the series.”

Even though she’s only three seasons into her career, But the spring lineup is back to the past. Woven belts are back, but this time they’re used to create “women’s” dresses with hourglass curves. Its seductive undulations contrast with an open look, made from a men’s leather shoe upper with the sturdiness to conform the body to its shape. Another deconstruction of masculinity comes in the restyled and waxed pinstripe skirt suit.

When Larson interacts with vintage clothing, it’s no surprise that time is a recurring theme in her work. Last season, part of it was her use of watches. This season, she abstracted that idea a bit by introducing the subject of her letter writing. To make this a little harsh, she crafts vintage envelopes into dresses and separates, but her message is a powerful and urgent one about focus, focus, and crafting, qualities that seem to be contained in the digital world swimming in the image. Diary writer Larson says the series is “a reflection of the time you give yourself; I see it as a letter I wrote to myself.”

That “letter” was mostly about dresses and softness. The fitted one-shoulder stunner’s mermaid tail is made from a gentle explosion of the shirt. The bras are collaged into party dresses, without derivation, appearing to be in dialogue or correspondence with Comme des Garçons’ “Lumps and Bumps” collection. Models wear metal hoops as earrings. The magic of Larsson turns practical workwear into something romantic. Grey Swedish military shirts were made into miniskirt suits, and a regal off-the-shoulder gown was made from hospital clothing by Elis, an industrial clothing producer and sponsor of the show. Another fluffy and textured white dress was made from scrap fabric from Larson’s studio.

Shapes are a big theme in spring. This season’s popular bubble looks are here. A padded doughnut inspired by Century Soft Cushioned underwear, widening the open – a dress made of a belt with the working mesh flipped on their sides, a skirt dress – the most unexpected trend of the season – open in front of the shorts. Flirty and fun, it’s also cleverly constructed; Larson’s magic is the ability to do a lot with a little bit.

“The production should be fun…like being in a desire-driven and exciting environment at the moment,” Larson said. It’s also fun to watch. Guests danced in the dim lights of Paris. It’s not just syrup on the cake; Larson creates an opportunity for her audience to slow down. “Today we have a lot of interaction on the Internet, but it’s very fast,” she said. “But once you sit down and write” — the same can be said about sharing dessert — “it becomes ritualized in a way, and I think making is ritualized.” Written in!




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