Emilia Wickstead found solace in film this past year, escaping into the world of the fashionable Italian bourgeoisie from Pier Paolo Pasolini’s “Teorema,” or the relaxed elegance of the heroine in Luca Guadagnino’s romantic drama “I Am Love.”
Alfred Hitchcock’s work also offered a window into all things 1950s, floral-patterned china and full skirts included.
Just like she was peaking into women’s lives and wardrobes through film, Wickstead went on to dream up a modern-day heroine of her own: She loves a romantic floral print; wears contemporary versions of those ’50s full skirts, reimagined here with cozy wool fabrics; and in ode to the 1990s, she’ll often opt for soft tailoring or pair her midi skirt with minuscule crop tops, just like the “I Am Love” heroine.
The collection’s film, featuring models zooming in and out of a striking pink frame, aimed to offer a glimpse into this woman’s life at home, as if peeking through her window.
“It’s reflective of this moment,” mused the designer, aware that she is “one of those women” living life at home and longing to dress up.
It’s why she incorporated plenty of practical solutions into her cinematic fantasy, from the most elegant knitted sets and slim jumpsuits to evening maxidresses remade with more casual flannel or jersey fabrics.
In a fragile market, where British brands are having to face both the effects of the pandemic and the Brexit aftermath, being her own customer will surely help Wickstead hold onto her relevance and her community of chic women, who like herself are staying far away from tracksuits and looking for elegant solutions, no matter their lifestyle changes.