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With the confidence that only experience can provide, Sharon Wauchob, who started her namesake brand 24 years ago, has arrived at a place of clarity, in terms of both her spring collection and her business strategy. The designer, known for the lingerie details of some of her designs, will soon introduce an innerwear collection, and by the looks of the lace camisole and diamanté satin bras in the look book, it will be be an exquisite one, informed, as everything Wauchob does, by her experience working in Paris. Vladimir Guerrero Jr Toronto Blue Jays 30 Home Runs In MLB Art Decor Poster Canvas, Her designs are defined by the tension between the satisfying structure of Savile Row tailoring and the ethereal lightness of couture materials and techniques. Like many designers, Wauchob works out her ideas in a natural colored toile, the couturiers’ blank page, as it were. This season, she wrote in her notes, “it felt right to continue the collection as we first experience it ourselves, but seldom execute. Without the aid or distracting optics of color and prints, we found an expression of strength in that rawness.” Examples of that quality are found in the unruly but elegant feathers that explode from the lapel of a Dietrich-worthy tuxedo; the incredible, wild textures created by the mix of hand-placed fringe and feathers on a silk slip, or  embroidered on a floral lace. Despite the luxuriousness of these embellishments, the silhouettes and mood of the collection are minimal, restrained, assured.

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“Stripping back” and “taking away some of the noise,” as Wauchob put it on a call, was her focus when designing. She is also experimenting with new ways of selling, with plans to open a temporary retail space, which will allow her to interact directly with clients and offer bespoke services. The shapes and the types of embellishments in Wauchob’s spring collection will be familiar to fans, but there’s nothing retro to the mood of this relevant, woman-friendly lineup. “It’s really about the attitude… It’s not about ‘This is the key detail’ or ‘This is the key print,’” she says. “Girls who aren’t dress girls come to me for dresses.” Asked what the lure is, Wauchob ventures that it’s the freedom from restriction offered by her beautifully designed but not overly constructed pieces. There’s also the face of the awe-inspiring handwork, like hand-shredded and individually applied frills that add textural borders to a columnar slip. Something “modern” was what Wauchob was after this season. It’s an ambiguous word that changes depending on one’s perspective. This Irish designer associated the word with clarity, continuity, lack of superfluousness, and sensitivity and openness to change. “I think that maybe we just have to concentrate on that and leave some of the other things aside,” she muses. “There was a time when we all had these massive collections that had to bring everything in, and I just don’t think that’s so relevant anymore. Different people have to do different things… Being quite concentrated now is more confident maybe. I can see the customer is more concentrated. I think they don’t want me to try to be everything.” How does a designer create a sense of novelty when they are homing in on their vision in terms of aesthetics and production? Maybe by looking to the past. Wauchob’s own archive was a starting point for her spring 2023 collection. “I developed key iconic pieces and included others which were never given a voice or a place in the collection before,” she says. “These pieces perhaps had been part of a development or a prototype which didn’t reach its potential at that time, but I felt it could go further, and now seemed the right time. I chose not to customize or upcycle any pieces— instead, we created part of the collection from archived technical patterns and processes. Modern pieces mixed with the pieces inspired by the archives are still important for me,” she continues. “I think there could be a further step where we mix new modern pieces with actual archival pieces from our previous collections. This would be even more sustainable and perhaps is what the customer wants.” These proposed uses of archival materials needn’t be nostalgic; it is rather that they align fashion more closely to industrial design and real life, i.e., wardrobe rotation. Existing designs feel precious, not old. Could designers’ archives become a kind of regenerative force in fashion? These are fascinating ideas to think about, but in the meantime, Wauchob’s collection, built on the foundation of her accumulated experience, speaks eloquently to the moment we are living in now.

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