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1/19 — Koury Angelo



The Silence and Noise of Dion Lee

Dion Lee’s return to MADE FW was as beautiful as expected, although the collection itself was a stray from his past work. The pieces were all tailored to perfection, with Mao collar tuxedo shirts paired with netted skirts, angora coats, and a particularly striking asymmetric shearling leather jacket which we need to get our hands on. Lee’s capacity to make different fabrics look like origami and paper snowflakes is spectacular, presenting an array of pants that looked like shredded stringed ribbons that could make any rockstar jealous. The collection also boasted perfect winter bombers that zipped open at the waist to look like a cape, and – trend alert! – a bunch of pieces in a rich emerald color. In short, the only reason we’re excited for next winter is the chance to get to wear Lee’s new pieces, which, as he shared with us below, are supposed to make us feel elegant and messy all at once.

What is the main idea behind the collection?

The main idea was this idea of opposing textures, in a way. I was thinking about this idea of silence and noise – so something that felt quiet and still and pure, and then something that felt quite grungy and a little bit messed up. I was quite attracted to looking at more of an evening wear silhouette this season, but approaching it in a way that felt quite grounded and relevant to the kind of woman that I would want to see wearing my clothes.

How do you go about the construction? The pieces are so perfectly tailored, it looks very difficult.

Yeah we had a tough couple of days. I only flew into New York a couple of days before the show so it is a big challenge to get everything so precise when you’re not with your team, so thank you!

This is your fourth show in New York. How is that different from showing in Australia?

I suppose the brand now for me feels more established in Australia. I feel very unknown here so I think it’s kind of liberating and you can try things an experiment, but it’s also scary because it’s a new audience and people who aren’t really that familiar with what you’re doing.

You’re really well known for playing with different fabrications. What kind of materials did you use for this collection?

I think the fabrications were a little bit more classic in this collection, so I was attracted to looking at traditional evening wear fabrics, tailorables and satins, but doing them in a way that felt quite raw and elegant, but also that had a messiness or a street element.

For a full summation of the collection, check out our Cheat Sheet

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