More than ever this season, the Zadig girl turns opposites into a style, making it as a branded signature. She warms up a delicate lace tunic or a polka-dot tulle top, with a studded black leather biker jacket so small that she seems to have worn it since she was a teen. She has a lasting affection for her pieces, keeping them, like her mohair jumpers, which are patched and mended or held together with staples, as they really seem to have gone through a lot. Deconstructing, all the better to reconstruct.
She doesn’t trouble herself with gender and makes unisex her own, she has cut the sleeves off her boyfriend’s jacket and slipped it on over a dress. She has also pinched his Prince of Wales check three-piece suit, his shearling-style checked biker jacket, and his oversize coat. She dresses her leggy figure in biker trousers made of silk or black leather with quilted topstitching, teamed with a bomber jacket shortened to the max. With a snap of her fingers, she switches from a belted leather biker jumpsuit to a multi-coloured velvet dress, to a biker jumper, that is redesigned with diamanté, then into a military parka, that is reinterpreted within patent leather.
Embracing a host of opposites, a manifesto that pounds the pavement, in boots crafted in acid yellow snakeskin or painted white leather, in her arms, she clutches her Rider bag like a soft cushion, stuffed like the old Chesterfield in a recording studio. Boasting a studded patina finish, it follows her everywhere. This is what the Zadig girl is like: strong and tender in one, independent, a rock girl in the true sense of the word, undoubtedly: ‘Nothing is real but the Girl’.
Zadig & Voltaire AW 18/19: Nothing is real but the Girl.