If an artist is someone who has a definite vision and mastery of their craft, then Mark Kenly Domino Tan could be defined as such. The location of his autumn exhibition, at the Statens Museum for Kunst), invites comparison, as does one of the designer’s starting points, the American painter Georgia O’Keeffe.
“I found an old picture [of O’Keeffe] which I printed many years ago…in my drawer, and I thought, ‘Oh, that cardigan!’ It totally felt like something we were working on right now. And then I started to dive into the images that I could find around her and the environment that she was in, and I felt like I was trying to get a combination of a silhouette bespoke, but to bring other traditions of craftsmanship and craftsmanship into this kind of storytelling,” the designer said.
Apart from two ethereal white pleated looks with circular silhouettes that could perhaps be compared to O’Keeffe’s flower paintings, Tan has largely abstracted his inspiration and at the same time released himself a bit. The rigor of a tailored coat, for example, was warmed by the romanticism of a sky-colored banner. Vintage jackets had silky lining fabric sleeves. “I think for me it’s kind of coming out of this kind of storm that we’ve been in for a few years and trying to find a new normal way of doing things,” he said. “That’s also why [the collection] is a little more embellished. (See: some prairie-like skirts with decorative stripes.)
O’Keeffe’s painting from 1931, Cow skull with calico roses, opposes the austere and the romantic; likewise, the decadence of Tan’s collection this season has reinforced the restraint for which he is so well known.