Working generic garments through the lens of recycling is Rave Review's remit, and this season it applies what designers Livia Schück and Josephine Bergqvist described backstage as somewhat preppy tropes into, well, the exact opposite.
Like the eco-minded practice of sourcing deadstock fabrics, Rave Review's punk enthusiasm, enhanced by the consistent DIY vibe of its collections, has been ingrained in the brand's DNA since its inception in 2017 and right up until its shortlisting as a finalist for the LVMH Young Designers Prize in 2020.
In a backstage meeting after her second show during Milan Fashion Week, Schück said: “I think [we have been] working with pretty generic clothes and just giving them new life, but also maybe with pretty generic characters, and then just twisting them and turning them around.”
Patchwork tartans and checked flannels were worked into captivating, messy layered looks, from bias-cut, collegiate-evocative miniskirts, cinched with eyelet ties and worn over flared trousers and matching blouses, to argyle vests paired with trousers and paneled peplums.
After showcasing some compelling outerwear, including their own take on the varsity bomber jacket, here lined with a more animalistic plush, as well as yeti-like faux fur and a huge belted parka with knit lining, the lineup veered toward subversion sensual with strapless dresses. cut on the bias, sometimes made of strips of tartan tied together with sheer tulle, or in the elongated shirt and half skirt combination of lace and silk from the 90s.
“It seems that we are contributing to [the city’s fashion week] with something that Milan didn't really have,” Bergqvist said.
Indeed, Milan has given birth to and attracted other emerging local and international talents lately, but it was effectively missing an unconventional Swedish voice.
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