Ellen's poetry was left on the seats in little boats: “I want to feel more shame, I feel the shame I didn’t do anything The thing that was care So they wanted to see species from before like we want dinos and aim for more, locking them up in pools for 45 years and sea was left unclear.”
HODAKOVA presented its SS27 Conventional Collection 112609 in the covered garden of the Institut suédois in Paris's Marais neighourhood, covered in white chalk, the new collection washed ashore.
The show opened with pieces made of deadstock lining fabric coated in beeswax. Through natural dyes, such as avocado pits or turmeric, the colour range of these pieces were reminiscent of warm, sanded tones, indicating that the collection is the exploration of an arrested present moment. From shift dresses, to trench coats and rain coats, came a glimpse into Hodakova's experimentation with water repellent clothing.
While antique linen was upcycled into boat neck nightgown and sailor dresses, vintage washing machine covers were fashioned into dresses and a two piece skirt set. Folkloric chemise and boat neck sailor like dresses were presented along with vintage clothes washer bags cut into bat sleeve dresses, and skirt sets. Nightgown dresses with varying levels of transparency gave a drenched look, further setting the scenery.
In an effort to convey a sense of humidity, working in tandem with the maritime dimension of the collection, leather was experimented with within myriad ways. In a collaboration with Swedish glovers Hestra, driving gloves were created to double up as brooches that attached to tops and jackets, all made with Hestra's deadstock leather. Hodakova deadstock leather was also used. Patchworked into imitation croco, it appeared on dresses and coats, showcasing an essential part of the Hodakova practice, upcycling. In the same vein, cotton cloth was woven into a shirt and a dress.
That practice extends to the brand's classic wool suiting. One of its recurring themes, this season it resulted into pants turned upside down, along with blazers and dresses. Spinnaker fabrics and heavy sail cloth were sewn into utilitarian clothing ranging from a dress to jackets and trousers, and making way for the final drenched looks made from linen jersey.
Nets seeped into many pieces through several uses of vintage industrial netting from the harbours of Stockholm shown throughout the collection. While it was slipping out of a skirt and over a shirt, the net could also be found over chemise dresses, layered on top of tops as ponchos and in the form of tights, or molded onto upcycled leather as a way to reference fish nets on the side of a boat. The visual is further reinforced through lace-like scalloped hems, scattered across the collection. Whether it be on bee’s wax, leather, or linen, they are reminiscent of folkloric island dress.
The boat paraphernalia is carried through to pieces made out of thick utilitarian anchor ropes. Stored from harbours around Stockholm, they were fashioned into a sleeveless top and a tent dress.
