John Alexander Scalton can surprisingly attractive, but he is also an excellent storyteller. In the County Mayo, Ireland, a child spin a summer migrant yarn, where the fishermen pull their mesh up or gaze out of the sea, and the villagers hired a wildflover before meeting a nearby waterfall for a nearby waterfall and a pint of a local pub for a nearby waterfall. Where Scalton has often found himself fascinated with a certain tension of Moody Victoriana, this time, it seems that he is giving a little bit to light.
“That part of Ireland, it has a tenderness,” Scalton told me in a preview, seeing that she is family roots in that corner of Emerald Isle and this look will be a quietly indifferent tribute to family holidays, which she will take there in the 90s. “The mountains are not as big, and everything is extremely and green, and people are very welcome. I wanted a tenderness and a lightness in the collection.” Instead of creating a pre-casting plan, Scalton and photographer William Waterworth worked with a local mediator, who helped them scout on the way (they looked for a real series of “people, farmers, fishermen, who had just retired-we also stopped someone who was passing by a bike,” the reality.
Some more fickle details of the collection shine the feeling of “tenderness and lightness”, such as a white linen double-breadd suit, which features a light cinch on the waist with opening of the waist on the waist on the waist on the waist on the waist on the waist on the waist on the waist on the waist on the waist on the waist on the waist on the waist on the waist on the waist on the waist on the waist on the waist on the waist on the waist on the waist on the waist on the waist on the waist on the waist on the waist on the waist on the waist on the waist on the waist on the waist on the waist on the waist on the waist on the waist on the waist on the waist on the waist. And it was equally visible in the story of off-white and pink’s slight soil, the most clearly expressed in the series of cutting from a deitzi floral print. Anyone who has seen Scalton knows that he is a living incarnation of his brand, and collection, he noted, was out of thinking more deeply about his own cupboard and his customer’s relationship. “I really wanted to make only what I felt like wearing at that time,” he said.
In particular, Scalton wanted to repeat his commitment to the off-compatriate formality that reducing his design ethos in recent years, as an act of the slow but resistance to stable growth. He said, “There is something about it that I really dislike, and it wants to make me full opposite and want to wear something that is really formally formal – and not necessarily polished,” he said. “In fact, there is something that is completely opposite. And it creates a strong response in people. But I enjoy it.”
Collection- and the ravishing lookbook that is with it – is a will for that kind of fashion alchemy that can only be attached to the world and attach to real people, and allow it to be fed back to the cloth. “One thing that I don’t really like about my job, is that I don’t get to travel with it,” Scalton said, with a smile. “Traveling for these shoots is a good way to get out in the world, rather than staying in the studio all the time.” This immense curiosity actually lends Scalton’s clothes to their curious magic.
