Harris Reed’s Refined Magnificence

It’s laborious to think about now, however two-and-a-half years in the past, Harris Reed hadn’t even launched a group. A graduate of the 2020 class of Central Saint Martins, Reed has loved a profession trajectory that’s virtually singular in its stratospheric progress. In February 2021, just a few months after graduating, Harry Styles wore Reed’s design for his immediately iconic Vogue cowl. Six months’ later, Reed’s namesake label launched its first assortment, a feat that was accompanied by a 5,000-word profile in The New Yorker. In 2022 Reed’s work was chosen for an illustrious menswear exhibition on the Victoria and Albert Museum in London. And final September, the 26-year-old was tapped to helm the esteemed Parisian vogue home Nina Ricci (he’ll unveil his first assortment in Paris early subsequent month).

So it goes with out seeing that Reed’s London Vogue Week present final evening was met with a certain quantity of anticipation. Set on the Tate Fashionable, Florence Pugh—a good friend and muse of Reed’s—served as unofficial emcee of the evening’s proceedings, resplendent in a sequin and velvet robe with a large halo-style headpiece. “Clothes has a transformative energy,” Florence defined to the group. “Whether or not for an actor or just a performer on the stage of life, the artwork of dressing up permits us to specific who we really are, making a protected area to inhabit in a generally judgemental world.” That theme—the transformative energy of costumes—was a transparent motif for Fall Winter ’23. Reed selected to indicate a hyper-curated edit of 10 seems, every impressed by the William Shakespeare quote: “All of the world’s a stage.”

Couture-like of their consideration to element and otherworldly splendour, items featured harlequin prints product of sequin, outsized sculptural headpieces completed in black velvet, and opulent bubble hem particulars in gold lamè. Outdated theatre curtains had been upcycled to make the material for among the clothes. Reed’s big recognition is rooted, partially, to his refreshing refusal to stick to a strict gender binary. Living proof: his previous good friend Harry Types debuting Reed’s first Nina Ricci assortment on the Brit Awards final week. The sharp black velvet swimsuit featured an outsized satin lapel, flattering flare reduce leg, and a large floral necklace—and it seemed simply as nice on Mr. Types because it inevitably will on a mannequin subsequent week. For his namesake label’s newest outing, Reed blurred the traces as soon as once more: this time between garments for actual life and clothes as fantasy. When the tip consequence seems this good, who needs to stay in actuality?