The reality of Huelle’s garments is present in the mix-match of fabrics and genres. Oversized denim sits easily with futuristic foil padding and feminine lace; skinny trousers complement scintillating pleated tunics; a grey hoodie pokes out from a pinstriped suit, or a navy blue bomber is finished with a soft, feathery hem in an perfect collision of reality and fantasy. Despite their gorgeous splendour, Huelle insists that “these clothes need to be worn by people in real life situations because otherwise I have failed my job”.
Huelle, who cut his teeth in the industry at Margiela — because he “understood what Margiela was doing” and shared a similar thought process to the cult Belgian designer — does not want “rules” to dictate “what is high fashion and what is low fashion”. He celebrates the current fondness for streetwear on the runway because “why would we constrain ourselves to certain things? Why would we make differences between certain kinds of clothes?” He finds such hierarchies “old and boring”, preferring instead to put everything he likes together and “to see what happens”.
The final look was the epitome of Huelle’s desire to combine styles and elements with an open mind. A gold jacquard puffball was paired with elbow length leather gloves and a perfectly Instagram-able, oversized tee emblazoned with the words: “There’s no one like you”. Despite the ensemble’s theatricality, it somehow felt like a contemporary interpretation of femininity, one that is smart, romantic, cool and powerful all at once. According to Huelle, it’s not that he has a particular woman in mind when he designs, but it’s more about “a very open way to see clothes”. “I think the women who wear my clothes can feel that — it’s never a certain age, or a certain body shape, or a certain kind of profession, it’s just a certain kind of spirit”.