These 5 Designers Are Reinventing Denim In a Big Way

April 25, 2015 - fall Denim

When former Net-a-Porter customer Katie Green motionless to launch her denim line, Kéji, she knew she’d be entering a swarming marketplace space dominated by powerhouses
like Frame, J Brand, and Acne. Still, she saw an opportunity. “Denim has been unequivocally pigeonholed as a widen spare jean,” Green says. Instead, a Hong Kong native—who apprenticed in bespoke tailoring on Savile Row—took this bland element behind to a heritage, looking to 1800s workwear and a WWII-era American sportswear designs of Claire McCardell. Green also drew impulse from a pointy lines of shunga, Japanese amorous woodblock prints that have been constructed for centuries, to emanate an 11-piece plug collection of frail cigarette pants, A-line dresses, and round-shoulder jackets in heavyweight Japanese denim, that she debuted during a fall/ winter 2015 collections during London Fashion Week in February. “It was a unequivocally engaging plea to see how distant we could pull a fabric,” Green says, “and take it behind to where it was before it became this entire thing.”

Green positively isn’t alone in her enterprise to move a suggestion of craftsmanship and hyper-refined routine to standby denim pieces; not one though dual of this year’s 26 short-listed designers for a LVMH Young Fashion Designer Prize work all though exclusively with a stout stuff. “Denim is something we possess for ages, and it transforms with we and changes and gets a bit frayed,” says Marta Marques, one half—along with partner Paulo Almeida—of a London-based Portuguese pattern twin Marques’ Almeida, that has built a covetable uniform of studiously hand-frayed denim T-shirts, collarless jean jackets, and beloved jeans desirous by a grunge opinion of Corinne Day’s ’90s shoots with Kate Moss for i-D and The Face.



Fellow Central Saint Martins alumna Faustine Steinmetz uses artisanal techniques to replicate mass-produced garments. The Paris-born engineer hand-dyes chronicle regulating healthy indigo, afterwards weaves it on vast wooden building looms in her East London studio. She uses normal Japanese pleating techniques, hand-knotting a fabric into perplexing shapes, before finally bubbling it.

Back in Manhattan during February’s New York Fashion Week, a unknown poser engineer behind 69, a Los Angeles–based “nondemographic” denim brand, staged a function during a art gallery Gavin Brown’s Enterprise in that 45 friends from a worlds of art, fashion, and song wore such pieces as a 20-foot-long weave denim headband that stretched normal definitions of clothing. “We didn’t have adequate pants, though it was fine,” a engineer reports around e-mail. “A lot of a models finished adult wearing their own—and everyone
wore jeans.”

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