Hailing from Uruguay with a passion for earthy glam and saving the earth, Gabriela Hearst is perhaps the consummate wealthy hippie of that era. But she doesn’t just want to take.
In a year when there is a lot of conversation in the United States around America’s contribution to fashion, which will culminate in two upcoming exhibitions at the Metropolitan Museum of Art Costume Institute, Hearst wants to ensure that the contributions of his native South America, Central America and Mexico are not forgotten.
Not only those of big names like Oscar, Carolina and even Gabriela who made it to New York, but also native artisans and thinkers (too often uncredited and appropriate) who brought their craftsmanship and design patterns to the style canon.
“It’s a celebration and a reminder. I was just in Europe and I met someone who said to me: ‘You are from Colombia, right?’ I said, ‘No, Uruguay.’ He said, ‘It’s all the same.’ It’s about breaking with that mentality and celebrating the cultures that exist on our continents, ”said Hearst.
“For me it is very important that we look at the Americas and the history of how we create clothes, because it is since the Industrial Revolution and more since World War II that the process of making clothes has taken place. ‘is industrialized to the point that clothes no longer look authentic, ”she continued. “To create reality, you have to pay attention to the ingredients and the craftsmanship. And I still feel pretty far from where I want to be in developing this.
Hearst has included crafts in its collections from the start, in collaboration with the Manos del Uruguay association, which employs nearly 600 women artisans in its country of origin. For the resort, she deepened her Latin American heritage, referencing the Jipitecas counter-culture movement that originated in Mexico and surrounded her when she was growing up in the 1970s.
“People were in indigenous crafts, in the cosmos, in the belief systems of the Aztecs and Mayans and questioning Western morals and world standards,” she said. “They were supporters of women’s rights, ecology and democracy in the face of totalitarianism.
She has incorporated this inclusive worldview into her collection, using a record for her of 49% animal corpses and recycled materials. Not so much a revolution in style, it was an evolution, reaffirming the building blocks of its brand, including casual suits, fringed knits and ponchos, bohemian dresses and rugged leather accessories.
Hearst wove Zapotec patterns inspired by the geometry of the ruins of Mitla on Monte Albán in a black lace skirt, and used Inca Birth of Moon designs as a motif for crochet appliques on a black knit tunic and pants. A series of landscaped sweaters, sure to be collectable, paid homage to natural monuments of the Americas, north and south, including Yellowstone, Aspen, Machu Picchu and Teotihuacan.
Paying special attention to knits, like so many designers today, she created coveted white ribbed knit dresses with embroidered agate stone bibs and pleated ribbed knit dresses with crochet details. “Knitwear is my passion,” she said, adding that after spending time in Paris at Chloé’s, she was surprised to learn in big luxury houses that creative directors sometimes did. not even contact with their mesh teams. “They are like bastard children!
Long sleeveless tunics in cool looking suede with recycled wood buttons on the sides; flared pants in recycled denim with curved seams; skirts sewn blanket; mandala print t-shirts and silk wool trousers with colorful stripes reminiscent of Mod’s 60s and added to the bohemian vibe of the city.
A white linen dress with circular crochet embroidery placed over the chakras was a special piece, and Hearst took the patchwork leather to a new place mimicking inlay on an earth-toned shirt and skirt. This season’s rainbow magic was a psychedelic bird of paradise motif, rendered on dead silk pieces and a trendy cardigan. (No hallucinogen required.)
The emphasis on craftsmanship was also reflected in the offer of men’s clothing.
“There are a lot of parts of the men’s collection that we [women] want to wear too, ”she said. “We are entering this non-binary world and it is natural to think about it both ways. “
So while the single-breasted suit and square-striped denim ensemble were designed for women, they were created as men’s pieces. The rest of the men’s-specific small pieces included a double-sided cashmere overcoat, long ponchos and long-necked raincoats.
This added to a strong commercial release, right down to rose gold and enamel bracelets (fine jewelry was a surprise bestseller in a pandemic) and bags, including its first East-West tote. called the Mcewan, and the Mabel sling style with a sliding metal panel after an old-fashioned roller desk. “Yes!” Hearst said, personal touch. “My grandfather had one!