A dreamy hint of grace légère taking us to dreamy spring nights in Paris to sun-kissed wanderings on the gardens of Versailles to the eternal holiday vibe of the Croisette at Cannes.
There’s always that innate sense of femininity constantly playing out its own contemporary repositioning. It really doesn’t really matter if one takes a cue from the heydays of the Ancien Régime to the 1920’s or the swinging 60’s or something as recent as yesterday.
These different time frames can all work together in celebration of style and how women have from these certain epochs have added to this eternally recurring dialogue on style and its relationship with clothes, silhouettes and its many fascinating ideologies and counter ideologies. To be contemporary is not to be afraid of the past and to be always having this particular reverence meets irreverence to the past to take it to the present and perhaps to the future. For this season, Hannah Kong takes us into the whimsical tropes of fancy of the likes of Proust’s celebrated muse La Comtesse Greffuhle to Jacqueline de Ribes to the iconoclasm of Franca Sozzani, Inès de la Fressange, Anna Wintour, Miroslava Duma and Olivia Palermo.
She also revisits her days studying at ecole lesage in paris where the petits mains from the revered couture houses have molded her into the designer she is now. Each piece is a curiosity of fine details that even some details remain invisible to the eye because they exude some quality behind the confines of the material and the tangible.