Yahoo Lifestyle Vincent Frederic-Colombo on reframing Creole identity with a unisex approach
Vincent Frederic-Colombo is many things, in many different worlds, at many different moments: A Parisian, fashion designer, creative director, casting director, DJ, co-founder of a beloved Paris party collective and a music curator. His fashion line, C.R.E.O.L.E. is also one part of a larger artistic universe.
C.R.E.O.L.E.'s roots trace back to Creole Soul, a fashion and visual research manifesto and subsequent photography project co-founded with photographer Fanny Viguier that centered on and celebrated the Creole diaspora. (It would also give birth to La Creole, Frederic-Colombo and Viguier’s beloved party series “born from interculturality.”) With the brand, Frederic-Colombo has been able to “reframe Creole identity” through designs that serve as a connection point between the past and the future — utilizing elements like the Pan-African flag, and queering classic silhouettes like workwear into something that feels unique to Frédéric-Colombo’s story.
His latest show, during men’s Paris fashion week, was inspired by the 1976 eruption of the La Soufrière volcano in the archipelago of Guadeloupe, where Frederic-Colombo is from. Called MAGMA 76, the show featured designs, score and energy inspired by the resilience that comes after destruction. Frederic-Colombo also participated in a fashion show during the Paris Olympics opening ceremony, walking his own designs down the runway that featured the work of other Parisian designers as well. For Frederic-Colombo, these kinds of opportunities could come only in Paris, which has served as a rich setting for the “new narratives, new references, new visions and new rules” he’s creating through C.R.E.O.L.E.
This is what Image Making means to me: Image making is about building imagery, balancing between documentary and fantasy. The most important aspect is to base it on real life and real characters, adding poetry. I love the idea of creating new narratives, new references, new visions and new rules.
A sentence that best describes my designs: Reframe Creole identity with a unisex approach, a bit of sexiness, some roots vibes, and good workwear cuts. Celebration of identity, body and soul.
The people who wear C.R.E.O.LE. have this in common: Confidence and flawlessness; they love comfortable, simple, but strong designs. They have authentic energy with roots [and] vibes.
My approach to personal style looks and feels like: I love a fluid approach to fashion. It can be simple and strong, printed with a lot of symbolic codes from historical details. I want to push the narrative of each collection. I also love basing my designs on simple and strong cuts inspired by military or workwear wardrobes. I love adding some subversive details with sexiness, queer, or political references in my designs.
My Paris looks like: A multicultural, progressive and challenging city. What I love about Paris is that it feels like a big village with different vibes, scenes, and communities. I love the fluidity of this city. I’m based in the 11th Arrondissement, which is certainly one of the more pleasant areas. I enjoy walking through this city, admiring the architecture, beauty and art everywhere.
My work reveals this about the city: This city is one of the best spots for opportunities. If you meet the right people or simply have a strong vision, you can grow and build strong connections. The hardest part sometimes is to take the leap to make your dream come true. What I’ve learned working discreetly behind casting, styling, retail and parties is to fight with a clear vision, no matter the difficulty. I’m based in Paris, but my ambition is international. My French touch or Parisian touch comes from an intellectual approach and experimentation with craft techniques from couture, close to all the big brands on the calendar. Paris is the perfect incubator to explore a sense of fashion with alternative points of view and to be part of the industry because it’s one of the biggest cities to be present for fashion.
This story originally appeared in Los Angeles Times.
