((HER))

Preston Douglas’s sixth collection, entitled ABUSE, explores the cyclical nature of emotional abuse within the family dynamic. ABUSE will be released in a total of four parts. The first quarter of the collection, entitled ((HIM)), released in early 2019: https://www.prestondouglas.us/abuse-him

The second quarter of ABUSE, entitled ((HER)), focuses on direct and indirect consequences of being in a relationship with an emotionally abusive individual. Oftentimes this person was raised in a similar environment, and unconsciously seeks that familiar emotional landscape in their romantic partner. Thus, the cycle repeats.

Purple induces connotations of royalty, wisdom, wealth, and deeply ingrained romantic ties, but ultimately serves as the embodiment of the matriarchal figure. It’s the combination, or balance, between red and blue. Red meaning love or rage, and blue being tranquility or depression. The varying lavender, lilac, and violet tones, shadowed by light and dark grays, reflect the constant codependent shifts of what it means to be ((HER)).

Portions of the initial collection fabric were painted, stretched, draped, and then combined with the unscathed yardage. The process of creating these selected pieces of fabric play an integral role in this body of work. During a series of private performances Preston channeled ((HER)) emotional trauma, smeared dioxazine purple and metallic white on his hands, and then violently thrashed the chosen pieces of fabric in a trance like state. The recorded gestures allow the inner trauma to be outwardly visible. It is only by acknowledging and accepting reality for what it is that one can ask for help and move forward. Pushing down ((HER)) reality propels the continuation of this cycle.

The garments were constructed after the performances concluded, and the marks were made. Each piece was designed to envelop the wearer as if they swallowed ((HER)) whole. Two of the performance-piece fabrics were left unused from the garments, and were intended to be draped over the model. This gesture treats the model as if they were a statue, memorializing ((HER)) experience and not allowing time to change the reality of what once was. The act of draping these paintings over the model continues to push the boundaries between fashion and painting. It explores the historical connotations of placing fabric on a human’s frame versus the painting’s frame. Can the silver satin resting on top of the model be a painting and can the draped poly charmeuse be the stretcher bar’s clothing? Is this longing for categorization escapable?

The second half of the lookbook incorporates pieces from both ((HIM)) and ((HER)) in order to explore their codependent relationship. These two bodies of work feed off of each other and the styling of the garments aims to capture their correlation, causation, and overall connection. This relationship is the antithesis to symbiotic, a form of dependency that does not exist in the natural animal kingdom. Even a parasitic relationship functions more successfully than this one. At least the parasite benefits from the host.

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((HER)) is symbolized by an orchid, a plant that is admired for its femininity and often overlooked for its strength.

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((HER)) character defects play a role in the cycle of ABUSE.

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((HER))