Han Chong is not the kind of designer who presents a mood board with profound references, nor does he revolve his collection theme around sublime narratives that make profound statements about the state of the world. That’s not to say he can’t – it’s easy to insert depth where there isn’t, but when someone leaves the house he’s too pragmatic to waste time touching his chin. Of course, the idea can be their own luxury form, but his self-portrait client is buying well-made and well-priced clothes instead of the concept behind it. It’s a refreshing, even radical approach: fashion is in the middle of a global slowdown in luxury goods, an invaluable mark of the material quality of clothing being a value.
As he previewed his fall series, Chong immediately focused his attention on a set of Georgette columns that were reduced in hand-filled crystals that retailed for no more than $600 in the store. Next to them, hanging from a bronze chain deck, hand-covered a mini skirt, used the same house lace for the long line Negligées. Every knitted piece (from soft cardigans, dresses with crocheted floral brooches, hair sweaters and tafitta skirts, garments with a bit of embellishment – Jewish buttons – was also produced in the latest manufacturing facility from Portrait’s East Asia. “Because our prices are easy to get, people think there is a lack of craftsmanship involved,” the designer said. “The fact is: we built infrastructure to develop everything we have on our own.” That’s the stigma that there is nothing to say about, around clothes made in China, a country with hundreds of years of history of Savar Phil and modern technology, even the most prestigious studio in Paris. “We put a lot of effort into the craftsmanship this season,” Chong said. “People deserve the value for money.”
In an optimistic sense, these clothes will also be injected into people’s lives, which is also valuable—their tweed transfer and crochet suits, as well as the serotonin top trim with pale pink fluff; the Chenille Bodycon number described by Chong has the structural properties of a shaper; and the cat bow twist on the Lamé Axi dress, which proves to be almost as popular as last spring’s hot pants. “People want to lie down,” Chong said with a smile. “But we can’t just design for adventure genres.” A series of double-breasted MIDI dresses and power-comfortable suede buttons will be more suitable for self-portraiting the decline of global audiences. “The information for each season is similar,” Chong said. “The question is: ‘How do we build blueprints with subtle details and perfect clients’ wardrobe?’ That’s by no means what I want to design. This is to satisfy her daily life. ”
