1 posts tagged "Doria De La Chapelle"
“Most people today think of Perry Ellis as a brand,” said menswear designer Jeffrey Banks, the co-author (with Doria De La Chapelle and Erica Lennard) of the new Rizzoli monograph, Perry Ellis: An American Original , of his late friend and colleague. “They don’t realize there was a real person named Perry Ellis. And that he was such an incredible influencer—he never followed other designers. He did what he believed in.”
The book, which will launch this evening alongside a one-night-only exhibition of Ellis’ finest designs at Parsons The New School For Design, traces the sportswear enthusiast’s all-too-short career (he died at age 46) with an aim to change that. A forward by former Perry Ellis designer Marc Jacobs (“When we talk to Marc, the one designer he ever idealized and wanted to be like and loved his clothes more than anyone was Perry Ellis,” recalled Banks) and never-before-published photographs from Lennard, who was Ellis’ campaign photographer, accompany Banks’ narrative.
The pieces on view at the show (a sneak peek of which debuts here) are a celebration of Ellis’ singular ability to push the aesthetic boundaries of sportswear classics. A hand-knit sweater emblazoned with a P for Perry (from Ellis’ first collection in which Princeton University cheerleaders danced down the runway) brings to life the moment the designer brought hand-knits into the high-fashion lexicon; a mohair dress and matching cape (“Perry always had amusing touches that were not silly, but fun,” remembered Banks) sits alongside a rich cashmere tunic in a graphic print inspired by French cubist artist Sonia Delaunay. Elsewhere, an oatmeal tweed jacket with Ellis’ signature dimple sleeves and an all-red suit for men (“It takes a gutsy man to wear a raspberry red tweed suit,” said Banks with a laugh) are on display. Each element of the show illustrates Ellis’ take on traditional, all-American sentiments—loosened up and ever-so-slightly irreverent.
“There was no compromise in his vision,” said Banks. Lennard continued, “He really had his own path. He was, to me, the only American designer of his time who was completely original. The other designers were looking at Europe. He had his own vocabulary.”