“GINA has brought great polish to my show with the shoes they produced exclusively for me. I went to the factory and saw the shoes being made, which was an amazing and insightful experience, during which we discussed suitable fabrics and textures. It felt like a true collaboration, working incredibly closely on developing all aspects, and I'm so happy with the results.”
Photo by Lucy Alex Mac for Wool and the Gang
For Spring/Summer 2019, the lustrous chaos of Matty Bovan's future-sphere has taken on a dramatic, sinister, explosive new sense of purpose. Like Jarman before him, he has escaped the capital and its often-crippling commercial structures. He is looking beyond an immediate sightline from the back garden of his suburban Yorkshire home. Much of the screen-printing for the collection was fashioned during the heatwave, left to dry in a place of growth, connected to the environment. His aggressive craftiness has worked hard to broaden the vista. 'Do I love it? Do I hate it? That is always a question I ask myself.'
Bugs, flowers, the remnants of the natural world have appeared, as if by magic into his work. Familiar fabrics rub alongside together, velour, hessian, jersey and knit. Hand-crocheted flowers have been attached to outsized crinolines with multi-coloured plastic cable-ties. Warm, fuzzy yarns have cellophane treated through them. The singular recurring phrase 'Infinite Void', most notably daubed on a denim apron, the centre-piece of a deconstructed gown. Plastic has been warped and heat-sealed to disquieting, trippy effect. Ideas, ideas, ideas. 'This is richer work than I've ever done,' he says, 'still testing the limits of taste.'