Gary Graham's evident love of aesthetic archaeology is nothing if not compelling. Season after season he flouts the modish, instead plumbing libraries or museum archives.
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Gary Graham's evident love of aesthetic archaeology is nothing if not compelling. Season after season he flouts the modish, instead plumbing libraries or museum archives.
Gary Graham's evident love of aesthetic archaeology is nothing if not compelling. Season after season he flouts the modish, instead plumbing libraries or museum archives. Fall's genesis came from Salem's Peabody Essex Museum, where Graham and the composer-performer Meredith Monk recently collaborated on an installation. Their fodder included a throne from Zanzibar and the Indian Vizagapatam chair, both ornate and singular enough to be logical fixations for Graham. Add to those Captain Cook's book of traditional barkcloths and a New England embroidery sampler and you're on the way to partially appreciating the scope of the designer's latest outing.
Here was a Silk Road, East-meets-West mishmash of continents and centuries: a wonderful maxi dress in a tapestry-inspired, chenille-wool jacquard; plummy velvet separates; a cream coat with fraying edges and rich floral embroidery for a touch of modern-day Miss Havisham. All that extravagance was tempered by the spruce, period-inspired tailoring and crisp shirting that are hallmarks of Graham's brand.
Less compelling were a few of the prints, like silks patterned after that aforementioned throne, or the African mask design repeating across organza. The designer's luxe fabrications and unabashed romanticism shone through less there. Graham is not the man you go to for a simple silk button-down. Nope, chances are what you want from him is the Dickensian frock coat or the fox-fur capelet tricked out with big gold zippers—clothes that inspire a cultish following from women who aren't afraid to wear their eccentricities. And on those, he delivered.