After visiting MoMA’s Willem de Kooning exhibition last autumn, I began to read more about the painter Franz Kline, who was a friend of de Kooning’s. A few years earlier, I had seen Kline’s portrait of Vaslav Nijinsky in Hamburg’s Kunsthalle, and it made a lasting impression on me. Kline’s wife was a ballet dancer suffering from schizophrenia— much like Nijinsky himself. Kline, a true action painter, used paintbrushes up to 25 centimeters thick for his strong strokes on the canvas. I became intrigued and started to research his work more deeply, which is how I found his dynamic Painting No. 7 (left), from 1952, a major example of the verticals so important in Kline’s late work and, eventually, the main point of reference for my newest collection. The painting inspired me to do abstract photo prints in colors—its verticals are represented in the sensual cashmere and silk&nashknit dresses in charcoal, bottle green, and nude. Kline also informed the geometric patchwork in a black and charcoal double-face cashmere-and-leather motorbike jacket and cape.
Styled by Edward Enninful