Anyone who has ever visited Giverny, where Monet lived and painted his legendary water lily masterpieces, will probably agree that there is something disjointing about its realness. You are forced to imagine how the artist arrived at his impressions. Today, Andrew Gn proposed his own impression of the paintings, while incorporating graphic influences from Asia (his heritage) and Memphis (the 1980s design movement, not the American city) to produce a collection that was, well, impressive.
Gn opened with a black-and-white wrap coat, its pockets and belt demarcated by topstitching, showing guests something stark before swinging around to his big reveal of color. This was followed by some expressions of asymmetry, in above-the-knee dresses and skirts, before the Memphis theme was introduced via a fil coupe short-sleeve dress with snakeskin appliqués. By the time the first glimpse of Monet arrived, Gn had already breezed through a flirtation with Fauvism as well as two graceful gowns enlivened by neon cherry blossoms and accented with enamel flower appliqués. And if water lilies avoided appearing derivative, it was because they were actually painted in the studio and modified digitally. Obi-style belts lent continuity to an overwhelming number of print variations, including ikebana florals, but occasionally they disrupted the free spirit of Gn's already flattering silhouettes, or else they overpowered the fineness of his prints.
Gn explained backstage that he doesn't typically gravitate toward allover beading, yet rendering Giverny with couture-level workmanship was his ultimate way of paying respect. And to watch the strands swish back and forth on the sleeves of Gn's final dresses left a lasting impression that conjured the rippling of that famous pond.
