Fall/Winter 2024 was perhaps the most anticipated Gabriela Hearst collection yet. As the first of Hearst’s post-Chloé era the Uruguayan designer drew particular attention from aficionados keen to celebrate and witness her solo sailing.
There is certainly a sense of freedom and power that comes with Hearst’s designs, and this is not a new thing. Hearst has long been an advocate for matters beyond the fashion sphere, rallying for Save The Children, global conflict matters and for multiple environmental issues (even sitting on a panel for Fusion Energy Culture in the UAE last December). So when it comes to working inside the fashion sphere, it’s not surprising she dedicates a majority of her practices to ethical manufacturing and sustainability.
Additionally this season, she noted her influence, or perhaps muse, to be British surrealist painter Leonora Carrington. In less of a literal or conspicuous way, most of the echo came via Carrington’s legacy. The artist, who spent most of her adult life in Mexico City, was both visionary and producer – something Hearst identifies with. “She was not only an incredible artist, but also so dedicated to her own vision. She never talked to the press—the only time she would speak out was when it came to environmental issues in the ’70s and the women’s movement. She used her voice very specifically,” says Hearst.
At Chloé, Hearst worked hard to achieve increased environmental accreditation and within her own label, she is pushing even further. To anyone not checking the swing tag, however, the pieces of this collection look as refined as any newly-fabricated high fashion item. Yet, many are crafted from recycled fibres like cotton, linen and hemp. This positioning proceeds the designer now, as she continues to use her platform for bigger issues. It’s also little wonder this agenda has seen Hearst develop a working relationship with new label-owner Angelina Jolie. The actress-designer-UN-activitist has just opened her first store in New York under the moniker ‘Atelier Jolie’ and did so in collaboration with Hearst.
Despite, or perhaps because of, Hearst’s considered production nature, this collection is inimitably beautiful. Full length shearling coats, gold bodice-skirt ensembles, ethereal bias-cut slip dresses, die-cut-lace renaissance gowns, even handwoven shag-pile coats complete with matching skirts – were all a statement of their own. Each look determining their own personality, holding strong and dominant – no doubt a crucial factor when coveting an artist like Carrington.
Carrington’s visual penchant for bright block colour also featured, particularly that of rich lipstick-red that Hearst chose for both her final look (a hand-woven wool cape coat) and the runway flooring.
Last year, when Hearst finished her final show for Chloé she burst onto the runway and danced with abandon with Rio’s samba school Mangueira. Her energy made it a viral sensation. And it’s this kind of confident freedom we’re already sensing with her new era – sartorial investments to feel comfortable, considerate and beautiful in – that’s the way of the future.
