In Lieu Of Flowers: Woven In Lace, Shaped By Identity
When we look back to our childhood, we get immersed in memories - some smells, tastes and feelings reignite them, and it is as if we were transported back. In his Spring-Summer 2027 collection, Joshua Ewusie enhanced that feeling with a particular focus on fabrics and designs that were common throughout his home. In Lieu of Flowers pays tribute to the home and spins motifs of flowers without directly using them, a response to the way that people take pieces that were passed down to them and reinvent them while still paying homage to the original intention. The space, graciously given by C-Studios, gives the audience a break from traditional shows, a way to slow down and engage directly with the collection. Joshua wanted the layout to mimic a retail store where customers could feel the clothes and be present with him during the experience. This idea, to me, was a response to the ever-growing demand for renewal within the fashion industry.
E.W.USIE invites you to step in, take a deep breath and allow yourself to be present.
The motif of the collection is taking inspiration from the home. With the use of other artists, the environment surrounding the collection brought forth the idea of having a dual heritage and the translation of that within art. Pieces such as illustrations of menswear that was prevalent during one’s childhood, alongside traditional prayer mats hung on the wall, bring forth the concept of enhancing one’s culture and translating it into art. Even the hangers, designed by Louis Barrett, reflect this idea. Simple yet elegant pieces that remind one of the Caribbean diaspora and the notion of paying homage within a settled identity, the experience of establishing an identity while retaining roots to Caribbean heritage. E.W.USIE drew on Michael McMillan’s book The Front Room: Diaspora migrant aesthetics in the Home (2009), which delves into front rooms of West Indian households in the 1950s and 1960s.
McMillan pays particular focus to how women curated the space as a form of honour, embedding their own personal style during a time when their freedom was limited. E.W.USIE uses the idea of connecting with identity throughout different cultures’ households, creating a way to connect different diasporas into one succinct collection. He uses the nightgowns that wives would wear as an emblem of feminine identity, a theme ever-present in the collection.
The plastic lace tablecloth becomes a symbol of tradition. When we think back to times when we had dinner, we are reminded of the conversations and feelings that we associated with them. E.W.USIE decided not only to use the tablecloth with the floral motif as inspiration but also to physically use it as a lining, pairing it with either denim or leather to give it more structure. An example of this is his low-waisted denim trousers, which feature this intricate detail, paying homage to his grandmother’s house. E.W.USIE used this technique on two dresses, where he used leather as a form of tape to secure the PVC material into a design. He also took inspiration from women using the technique of pin-tucking to create movement within their nightgowns. The juxtaposition between the PVC/leather material and the feminine pin-tucking gives an interesting twist.
A distinct aspect of the collection is that E.W.USIE is not
afraid to contrast the hard with the soft, taking inspiration from a crochet pattern and laser-cutting it into leather. Leather, a seemingly masculine material with contoured, harsh lines, is juxtaposed with the fineness of the crochet pattern, a more feminine element.
The subtle attention to detail, where the ceiling’s varnish not only pairs perfectly with the wooden structure holding the collection but also complements the dress, creates a sense of cohesion throughout the space. Playing between the lines of feminine and masculine, this collection offers a modern twist on traditional femininity while paying homage to the one he experienced during his youth. Another example of this is his use of chiffon with leather to produce an evening gown unlike any other.
Getting closer, one can notice how E.W.USIE’s attention to detail is breathtaking. Details run from the rosette detailing on one of the pieces, taken from the traditional nightgown, to the green lining on some of the pieces. Joshua told STRAND he took inspiration from a specific nightgown which featured this specific lining, highlighting the scoop neckline. The pairing of the basic black and white, with the hint of green, gives these designs a sense of understated elegance, allowing the intricate detailing to speak for itself while adding an unexpected element of colour
In Lieu of Flowers pays a beautiful tribute to Joshua’s Ghanaian and Western heritage, creating a unique concoction that illustrates the harmony between the two. The detailing of using flowers as a motif throughout the collection, from the PVC lace tablecloth to lace linings scattered throughout some of the pieces, shows that a theme does not have to be something physical. The emblem of the flowers also pays tribute to his grandmother’s use of faux flowers throughout her home, allowing the audience to step into E.W.USIE’s childhood home, personified through his designs. When asked, Joshua summed up the collection in three words: “odd, kitsch and identity” - a fitting reflection of a collection that embraces the contrasts between heritage, memory and self-expression.
All images courtesy of Claudia Limaverde Costa
Edited by Simon Nora Dreyfus, Co-Fashion Editor
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