Simplifying her work equated to exploring fluid shapes. There were unstructured wool coats, edged with contrasting 3-D dimensional piping. Distorted floral imagery was printed on a dress, that was in a shape entirely different to everything Lee designed heretofore. Always inspired by minimalism pertaining to shapes, the subtraction of colour worked wonders for a number of looks. It allowed time to appreciate cut and shape. Illusion panelling on dresses was another addition to her repertoire.
Hosted at the Vinyl Factory, Lee’s presentation was designed by Switzerland-based artist Kyung Roh Bannwart, who created an “abstract landscape.” Black and white panels contrasted the shredded paper mounds dotted around the space. Models stood near and far, playing to the idea of an optical illusion, which could be seen in the collection. The art crowd are staunch supporters of Lee’s work, given her “sophisticated” aesthetic. This collection, styled primarily with black boots, may begin to attract a slightly different customer. However so, they’ll be taken by functional, utilitarian outerwear.
Lee has pulled back the blinds, so to speak, and exposed us to her true strengths.
All images are my own