The Chloé Girl Has Grown Up — And Grown a Social Conscience

A figure emerges from Brasserie Lipp, the famous old Parisian restaurant where Apollinaire and Cocteau once dine, strolling down a dimly lit deserted street in the protective embrace of a striped knit. It is half poncho, half puffer, with a sweep of a Musketeers cape. Caught on the film, she is not the croc-madam, but the world notices: there is a new Chloe girl in town.

Yes, that mythical fashion creature being through more designer reinvestments than Madonna is being reinforced once again.

Produced by Gabby Aghione in 1952, Chloe Girl romanced the Provençal flower fields thanks to Karl Lagerfeld, went a bit more under Martine Sitbon, became Lolita-irony under Bella McCartney, and via Phoebe Philo Baby-doll calmed down. She was somewhat entangled in the hands of Paulo Melim Anderson and Hannah McGibbon, with Claire Waite Keller under Natach Ramsay-Levy, and Edgilli Bohemian.

So now who is Chloe the girl, in the creative hands of Gabriella Hurst, An Uruguay-born New York-based designer living in ecology Libra and an obsession with clothes (so much so that before the digital show, she sent a box of swatches – 43 in all – to virtual attendees so they could feel their knees. Silks and tweeds for themselves)?

She is a woman. And she is connected to the issues of the world.

Ms. Hurst’s debut collection was a part of Haute Homme, partially crafted from recycled cashmere and other durable materials, as well as upstream deadstock – the literal material from the brand’s past from which she laid her foundation .

If it was not a boundary-pushing at all, it was a decidedly unrestrained disposition. Also, playing with a silhouette or social identity has never been Ms. Hurst’s calling card; She is more of a luxury naturalist. Also, he and his permanent agenda came home only two months ago.

Fifty editions of the Edith bag were arguably the brand’s most well-known former “It” bags, purchased on eBay and containing dust-collecting materials in the atelier. The 1970s swagger leather coat was patchworked together with scalloped remains. There were longer, body-skimming Gaucho-Meat-Sonia Rekial striped sweater dresses and more sedate pebble versions of the same; Sometimes a night gown; And a whole lot of urban (and urbane) kind of parchment and fringe. Specially made ceramic buttons and moonboots with a lining made from recycled cashmere (a collaboration)

And what looked like a magnificent greatcoat made of neat silks in various colors and prints became an inside-out version Sheltersuit, A fabric made by a Dutch nonprofit with a non-technical outer shell that can be zipped together and turned into sleeping bags for the homeless.

Although the Chloe Sheltersuit will not be produced, Ms. Hurst teamed up with the nonprofit founder, Bass Timmer, to create 1,000 traditional backpacks made of identical deadstock. Two sheltersets will be donated for every bag sold.

This is a beginning, in more ways than one.

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