![]() ![]() The organza at the bottom of the trousers are really ruffled up to look like smoke. The sharpness on the collar, the darts – the external darts are like blades. The seaming on it is very geometric and very ergonomic.įor me, Parabola is about that kind of consideration combined with the darkness. So, the ruffle of the shirt runs straight through to the placket line into the ruffle of the blazer. ![]() All the lines of the layered pieces were all very thought out and considered. We created a fully tailored suit, fully canvassed, everything is pick-stitched. It’s very well-fitting, there’s a lot of classical sartorial elements in there. For me that look really sums up the contrast in the collection. Is there one look that you feel sums up the collection?Įlliot Long: Fickler, I made that as the first look of the collection and it was a very key part. The design process was based on words and emotions and forms that we found that really connected with us. ![]() So you’ll find in some of the more recessive figures, the more introspective figures they are way less adorned, the pieces are less in your face. The reason some of the pieces are so maximalist is that they are very character-based, very emotion-based. And that informed the way it was styled, those negative spaces, the way the clothes were falling off, those jeans are twisting around, they’re contorting, consuming her. For me, the chasm is almost that lust for something more. How did you translate these character concepts and the writings into tangible looks?Įlliot Long: So Yawn, for example, has the obvious connotation of tiredness, boringness, but the etymology behind the word is chasm, it’s that gap. It was so amazing to be working with people who suffer the same struggles, we were all very open with each other. It was an emotionally taxing process, but the amazing thing was that everyone – whether or not they have suffered through certain things I have – found they have felt the same things. People were really open and down to get into the nitty gritty. Then, as a team we really explored them through the design process. I started writing to and from these 15 characters that I felt were playing a part in my decision making and my thought processes. Where did the inspiration for the collection come from?Įlliot Long: For this collection I was trying to work through some things that were in my head. When you just push it to the back of your mind, that’s when it really starts to fester. And if you can find the balance, it's a really beautiful thing to align that chaos, or at least to understand it and acknowledge its presence. There’s this beautiful natural chaos in everything, even in how we think. We try to pay attention to these organic forms, the natural order of things and the natural chaos. If you kick a ball up in the air, however it falls, that's a parabola. Parabola is the most prevalent curve you find in everyday life, the most naturally occurring form in nature. I love fluidity, I love how you can accentuate the human body using those curves. Is there significance behind the name Parabola?Įlliot Long: Parabola for me is about the curve, I’m obsessed with the form of these curves. I really wanted to pull out a lot of these emotions with a performance that was so interactive and visceral. But for me, it’s better to have people leaving than to come out of it thinking ‘oh that was alright’. We really tried to do something disruptive. But with this one I had confidence in the craftsmanship and the story behind it. Last week, Long showed the collection in an industrial factory in Bow, with a presentation more theatrical, performance art than typical catwalk show.Įlliot, congratulations on the show! How are you feeling about it now that the dust has settled?Įlliot Long: I've done a few shows before and a lot of the time afterwards I feel very dejected, I often feel like things could have gone better. ![]() It’s this idea that lends its name and premise to Long’s debut collection for his new label Parabola Works, which he founded after leaving the design team at A-COLD-WALL* where he worked alongside Samuel Ross for nearly three years. “You’re standing on the brink of something that you know is wrong, but you have that burning desire to do it regardless,” as designer and creative director Elliot Long puts it. In an 1845 essay, Edgar Allan Poe theorised that all humans have self-destructive tendencies, that the imp of the perverse – that temptation to do something merely because we feel we should not the impulse to jump – is inside each of us. – Edgar Allan Poe, “The Imp of the Perverse” Our first impulse is to shrink from the danger. We peer into the abyss-we grow sick and dizzy. ![]()
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