SHOP COLLECTION EXHIBITION
AW23 | CHURCH AND THEDANCEHALL
COLLECTION 1 |
CHURCH AND THE DANCEHALL
A SATIRICAL CELEBRATION OF CONTRADICTION AND SEEMINGLY OPPOSITE WORLDS. AMPLIFYING A SPACE WHERE REGALITY AND VULGARITY COINCIDE, CHURCH AND THE DANCEHALL IS A BODY OF WORK THAT EXPLORES THEMES OF MORALITY AND BADNESS, THE MADONNA WHORE SYNDROME, POST-COLONIAL LANGUAGE OF DRESS, UPTOWN AND DOWNTOWN SOCIO-ECONOMIC GROUPINGS AND THE CHURCH AND DANCEHALL ARCHITYPES, AS A MEANS TO CELEBRATE AN ALL-ENCOMPASSING EXPLORATION OF MODESTY AND INHIBITION THAT EXIST WITHIN DIFFERING SUB AND POPULAR CULTURE WITHIN JAMAICAN SOCIETY. NOTING THAT THEIR COEXIST IS WHAT ADDS TO THE VIBRANCE AND MORAL GROUNDINGS OF WHAT MAKES ME WHO I AM AS PROUD JAMAICAN.
A SATIRICAL CELEBRATION OF CONTRADICTION AND SEEMINGLY OPPOSITE WORLDS. AMPLIFYING A SPACE WHERE REGALITY AND VULGARITY COINCIDE, CHURCH AND THE DANCEHALL IS A BODY OF WORK THAT EXPLORES THEMES OF MORALITY AND BADNESS, THE MADONNA WHORE SYNDROME, POST-COLONIAL LANGUAGE OF DRESS, UPTOWN AND DOWNTOWN SOCIO-ECONOMIC GROUPINGS AND THE CHURCH AND DANCEHALL ARCHITYPES, AS A MEANS TO CELEBRATE AN ALL-ENCOMPASSING EXPLORATION OF MODESTY AND INHIBITION THAT EXIST WITHIN DIFFERING SUB AND POPULAR CULTURE WITHIN JAMAICAN SOCIETY. NOTING THAT THEIR COEXIST IS WHAT ADDS TO THE VIBRANCE AND MORAL GROUNDINGS OF WHAT MAKES ME WHO I AM AS PROUD JAMAICAN.
COLLECTION 2 | CROSS ROADS, KINGSTON JAMAICA
A DERIVATIVE OF FW23’S CHURCH AND THE DANCEHALL, BEGS THE QUESTION “WHERE IS SHE GOING?” I RESPOND, “I’M GOING TO BOTH.” SERVING EQUALLY AS GEOGRAPHIC LOCATION AND METAPHOR FOR THE INTERTWINING OF DUAL PATHS. CROSS ROADS, KINGSTON, JAMAICA IS THE RESPONSE TO ITS SEASONS’ PRIOR. WHERE FW23 SERVES AS THE SCULPTURAL, VISCERAL, AND EMOTIVE VEHICLE TO TELL THE STORY OF CONTRASTING WORLDS; PF24 IS THE SPACE WHERE THE VIEWER BECOMES THE CONSUMER IN THE CONTINUATION OF THAT STORY, AS IT TAKES SHAPE THROUGH THE FIRST READY-TO-WEAR COLLECTION. FROM COLLABORATION WITH RENOWNED LOCAL TYPOGRAPHY ARTISAN NURSE SIGNS AND LEGENDARY FEMALE FIGURE IN THE DANCEHALL FRATERNITY DANCEHALL QUEEN CARLENE SMITH, TO NUANCES OF OUR CULTURAL EPITOME; THIS COLLECTION EMBODIES THE BRAVADO AND POISE OFJAMAICAN PERSONA.
CAPTURING NOTIONS OF BOTH REGALITY AND VULGARITY, MODESTY, AND INDECENCY; THE EXPLORATION OF CHURCH AND DANCEHALL TROPES AND ITS JUXTAPOSITION, FINDS BALANCE AT THE INTERSECTION, OF CROSS ROADS, KINGSTON JAMAICA.
A DERIVATIVE OF FW23’S CHURCH AND THE DANCEHALL, BEGS THE QUESTION “WHERE IS SHE GOING?” I RESPOND, “I’M GOING TO BOTH.” SERVING EQUALLY AS GEOGRAPHIC LOCATION AND METAPHOR FOR THE INTERTWINING OF DUAL PATHS. CROSS ROADS, KINGSTON, JAMAICA IS THE RESPONSE TO ITS SEASONS’ PRIOR. WHERE FW23 SERVES AS THE SCULPTURAL, VISCERAL, AND EMOTIVE VEHICLE TO TELL THE STORY OF CONTRASTING WORLDS; PF24 IS THE SPACE WHERE THE VIEWER BECOMES THE CONSUMER IN THE CONTINUATION OF THAT STORY, AS IT TAKES SHAPE THROUGH THE FIRST READY-TO-WEAR COLLECTION. FROM COLLABORATION WITH RENOWNED LOCAL TYPOGRAPHY ARTISAN NURSE SIGNS AND LEGENDARY FEMALE FIGURE IN THE DANCEHALL FRATERNITY DANCEHALL QUEEN CARLENE SMITH, TO NUANCES OF OUR CULTURAL EPITOME; THIS COLLECTION EMBODIES THE BRAVADO AND POISE OFJAMAICAN PERSONA.
CAPTURING NOTIONS OF BOTH REGALITY AND VULGARITY, MODESTY, AND INDECENCY; THE EXPLORATION OF CHURCH AND DANCEHALL TROPES AND ITS JUXTAPOSITION, FINDS BALANCE AT THE INTERSECTION, OF CROSS ROADS, KINGSTON JAMAICA.