Edward Crutchley SS23

EDWARD CRUTCHLEY
SPRING/SUMMER 2023
" The Only Constant in Life is Change "
London. September 16th 2022,

This fragment, attributed to Heraclitus of Ephesus, who, in his susceptibility to melancholia went on to bear the title " the weeping philosophy ", shall serve as a premie for our brief, but collective sojourn. Within the unexplored waters of change, it is impossible for any human to step into the same waters twice, as Heraclitus enlightens us:

" Πάντα ῥεῖ " (Everything always flows).

Dynamics begin to form:

Sea contra land, flow contra rigidity, myth contra realism, relieving amorphousness contra constricting framework, otherness contra conformity.

How can these differences be reconciled?

The ancient Greeks had an intricate relationship with the ever-changing sea. While a resource, a spring of power, the sea's otherness, its every-changing unpredictable nature, brute force and indomitable will were feared.

At their core many stories within Greek mythology are about interpersonal conflict. The solution is often a form of metamorphosis. Liminal beings, bestowed with the power of transition or change act as bearers of resolution. Unlike humans, their very essence allows them to shift through contrasting realms: the mortal and the divine. Land and sea.

Proteus (Πρωτεύς), a liminal being that not only dwells in but also embodies rivers and oceanic bodies of water exemplifies this. When revealed to the human eye, Proteus takes on the " Old man of the Sea " form, when concealed he enjoys the epithet of (God of) " elusive sea change ". And while he bears the gift of prophecy, in his reluctance to share it with humanity, Proteus shape shifts. Proteus will only enlighten those seeking to know the only constant (which is change) if they are able to catch him mid-metamorphosis.

His capabilities endure in the English language. We still use the word " protean " to describe the ability to change intermittently and effortlessly. Much like fashion.

Perhaps, the only way to peacefully coexist with change is to be protean ourselves.

Perhaps, we will capture Proteus on our sojourn today.

- Aron Alexandros De Vallier Petridis

RUN OF SHOW *All of the textiles developed exclusively for the collection are new interpretations on cloqué: a double fabric with a jacquard effect rich in couture sensibility. In some, aluminium has been woven to create a crinkle, in others, lurex offers iridescence. *The Responsible Wool Standard (RWS) is a voluntary benchmark that is working to ensure a strong chain of custody for certified materials as they move through the supply chain. *Archetype couture shapes and opulent textile are amplified. When splayed, these clothes resemble flora and fauna. Flowers in bloom, jelly fish in motion, aquatic vegetation aflutter. *For the last two seasons Crutchley has been gently expanding on a vocabulary of queer glamour. An unapologetic opulence reverberates in his clothes. Here he has taken extravagance - and maximised it. The dial was at 7 and now it is at 9.

Look fifteen:
Alpaca abstract aurora jacquard knit beanie
Multi pocket trekking shirt with exaggerated floating back yoke in an organic silk printed with an abstract aurora design
Alpaca crop top in an abstract aurora jacquard knit
High cut briefs made in recycled crepe jersey
Cargo miniskirt made in fully traceable RWS certified wool and mohair
Holographic platform triple strap sandal

*Abstract
layered and rich but with
plenty of skin
chthonic sea goddess stood
on dry, hot, salt-encrusted rocks
she dives into the ocean going
deeper, deeper. *tubic is a method of weaving similar to a brocatelle which has two warps,, achieving a puckered or quilted effect. * "I am not trying to pretend I am making couture but have had experience working in it over the last year it has shaped my approach. Couture - for me - is where you can push your ideas to the farthest point. The work gets to the highest level possible, as far as you can imagine. I am less afraid "

An oyster shell wreath is by Stephen Jones. Shifting pigment metal head pieces are by Victoria Rickard and Gianluigi Zoccheddu. All embroidery was done by The London Embroidery Studio and the prints designed and developed by James Bosley Studio.

The show space is scented in BASALT - a fragrance created by Edward Lorenz using a conceptual arrangement of a traditional Eau du Cologne. At its core is a balsam of dry roasted seashells distilled in an earthenware sill into the rarest Mysore Sandalwood Oil. It evokes the hyperreal, multi-sensory recall of salt-saline air, foam of crashing beach waves and seaweed washed ashore.

SHOW CREDITS

Styling: Julian Ganio
Casting: Sophie Lynas at LEDA Casting
Production: Antony Waller
Press Release: Dal Chodha
Shoes: Roker
Jewellery and Head Pieces: Victoria Rickard and Gianluigi Zoccheddu
Millinery: Stephen Jones
Serpatine Rock Chokers: David Crutchley
Movement Direction: Brieuc Breitenstein
Music: Mickey O'Brien
Historial and Cultural Consultant: Aron Alexandros de Vallier Petridis
Fragrance Design: Edward Lorenz
Hair: Richard Phillipart at Gary Represents sponsored by L'Oreal Professional
Makeup: Michelle Dacillo sponsored by Weleda
Nails: Marie Louise Coster at Nylon Artists using Louella Belle
Lighting Design and Videography: Hydra Design
Runway Photographer: Chris Yates
Backstage and Look-book Photography: Francisco Gomez de Villaboa
Graphic and Textile Design: James Bosely Studio
Embroidery: The London Embroidery Studio
Wovens Production: TRUK 1609
Studio Team: Karen Coughlan, Aron de Vallier, Ava Coffen, Aaron James Ford, Hilary Watts, Yong Hui Tan, Precious Ikekhua, Willow Prieto-Johnson, Lucas Chaillou, Oliver Julius Ross, Lucy Rogers, Mitja Olenik, with thank to Niall Sloane.
Thanks to: L'Oreal Professional, Weleda, Louella Delle, Bower Roebuck, TRUK 1609