London based brand Vinti Andrews - a dynamic collaboration between Vinti Tam and Paul Andrews, have presented a singular and intoxicating vision for their Autumn/Winter 2021 collection. Shot in Croyde, North Devon, the film presentation starts like a grainier A24 horror, introducing a character - the lone model of the presentation - a hypnotising fusion of teenage innocence and shamanistic wisdom that endures with its inventive reworking of capitalist materials. In other words, a perfect collection for your first music festival back in the real world. A stark motif in the collection is the splicing of ephemeral and streetwear elements; “the equilibrium of Town and Country living, full of both reassurance and surprise”. Never losing sight of the grander narrative purpose here, a glorious range of reworked items that celebrate youthful reinvention; a green parka jacket that would feel completely at home in the archive footage of 90s raves from inverted police uniforms, even turning the insignia upside down to highlight the ineptitude of these institutions, a faux leather jacket made from Mercedes Benz AMG interiors that previously brought comfort to executives, an unmissable petticoat skirt remade from Nike tracksuits that could come out of Wuthering Heights if it was shot at Hackney Marshes. This latter ensemble, while bold with the hallmarks of rave culture, signals more survival and fortified individualisation rather than any strict code. Continuing their trademark ‘half and half’ dresses with a more distressed and intimate take, showing how the ‘festival generation’ at the moment is having to find their footing and protect themselves in a world no one recognises anymore through a purposeful splicing of hoodies and distressed hippy dresses in one particular ensemble. I immediately get the image of this character running from a demonic spirit through the forest, fabric shredded by unforgiving branches before she is ultimately possessed and realises her full power, gliding towards her bloody revenge! The foglit roads and heady crimson mists at the start of the film, directed and shot by Michiyo Yangihara, lead your eye to the rich colours contrasting the cozy checks and scrawled prints, accented with the handmade charms attached to unprocessed hair in with gold rings, reds and repurposed scraps of fabric with makeup that could come out of a fit of magickal inspiration before the 3am lockin at Boomtown. The camerawork emits the tension of slow burn horror, in unflinching long takes of her holding our gaze as she inevitably comes closer and you are only left to guess what she is up to. Thinking about it, the lack of a clearer narrative does a slight disservice to the collection, the spiritual element does not have a sense of direction or aim other than to counteract the exterior oppressions. My favourite? Perhaps possessed by a similar spirit, my mind keeps going back to the stand out red items that leap out at you like Dario Argento’s glossy Giallo - the red ensemble with the black tracksuit stripes that reminds me of the victory of the final girl’s survival, despite the possibly violent means, counteracted with worn down white cowboy boots. The innate conflict between the elements is shown in the soundtrack; Heavy Self Alienation by White Ring. Echoing and otherworldly ambience thrown in contrast with heavy industrial synth and programmed bass thumps that reminds me of SOPHIE’s later work. This kind of consideration for the atmosphere and for the experience makes you yearn to have that live experience again even more, I would have loved to see this collection in a live show.
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London Fashion Week
- Fashion and Textiles
Original Magazine
- Arts and Culture