How is that saying going? Go big or go home? Or instead you can just grow up and set up a large catwalk show. If you have the ambitions for your brand, then you might have to pretend you are already there, because who knows? Maybe you are already – or at least you are on your way. The Haderlump show certainly showed a Bravura confidence about what it said, and it was big, big, big in this. Just like the clothing of the label, which used a grim, urban retelling of elegance from the mid-century, all broad shoulders, browed waist and flowing but structured customization in shades weathered and worn blacks and shades of gray and that was just the Men.
Creative Director of Haderlump Johann Ehrhardt, the showman of Berlin Fashion Week, brought us late in the evening to the edge of the city to the Gargantuan s Bahn Werk Schöneweide Train Depot, which he had stylized with a pre -city station platform, on which a model on which on which A model on which was a model on which one model on which one model was one model on which one model on which one model was one model on which one model on which one model was on which one model was one model , on which one model on which was a model on which a model on which is one model, on which a model on which one model was one model on which one model on which one model was one model, on which one model, on which One model, on which one model was, on which one model on which one model is abandoned was abandoned, is introduced for the next service in the big bad city. (Somewhat of a PTSS moment for me that I have witnessed this, which with the number of times I have waited in the same way and wait and wait, thanks to the MTA of New York.)
“You have to make a bigger image,” Ehrhardt said just after his show ended. “So from the set design, the lights, the atmosphere – everything – everything – the whole fashion show must be one image, a bit like the theater.” In view of the fact that Ehrhardt gathered everyone together at the Tempelhof airport, you might think he has something to travel, and he just does not do that in the way you (or even me) may have imagined. The entire train started for Ehrhardt, rather surprisingly, with a story about Mahatma Gandhi, who had lost one of his shoes somewhere in the 1940s to take a train. Gandhi had immediately thrown the other away to join his missing shoes. Asked why Gandhi had answered, Ehrhardt, told that someone would need both shoes, not one. “It was great and selfless to do,” he said. “There was a larger, friendlier image of things. And we all have to do that now, especially with the way the world is. ‘
Perhaps that is the reason why this show worked with all its bells and whistles, because at the end of the day it was not only about bending the brand muscle, but also trying to find a way to connect to an idea where we are Being here and now; To bring a little emotion and sensitivity to the procedure. And if Ehrhardt understands how he can strengthen the drama in his presentation, he also knows how to do it with his clothes. The Gandhi story was what brought him to the mid-20th century, so what resulted, he says, thought: “The decades of the 1930s, the 40s and 1950s, people hurry in a Dressed clothing from those eras, but they want to look and feel modern. “
How did he do that? Certainly by giving everything the men as the ladies-one very sad lump and lived in look; The crumpled woolen sweeping overjasses whose hems walked to the floor, or the patch-plucked slouchy jeans with their wide legs peeing around the feet. Other times he would mix ’50s heartbreaking pin-up bomber jackets with a combination of liquid kilt-like skirting boards and voluminous pants for the boys (that layering trick is a recurring idea here in Berlin) with the same silhouette somewhat echoing his winding women’s jackets, With their snood -like hoods. That is not all they shared. The highly defined waist was for everyone, or it was formed by a corset – or not.