“Even if they seem hollow and trivial, clothes seem to serve a more important purpose than keeping us warm. It changes the way we see the world and the world sees us.” - Virginia Woolf, Orlando From Bloomsbury to Borghese Reflecting on transcendent romance and timeless creativity, Kim Jones drew inspiration from the unconventional British sensibility of the Bloomsbury Group for his debut collection for Fendi, while also paying homage to the Rome-based house’s storied history. The Fendi Spring/Summer 2021 Couture collection weaves together diverse inspirations at their intersections, exploring the enduring appeal of the tradition-free creativity of sisters Virginia Woolf and Vanessa Bell, alongside the timeless language of Italian sculpture and Fendi’s foundational codes. As Virginia Woolf wrote in "Orlando," "memory is a wayward seamstress."

A time-traveling novel that blurs the boundaries of gender is the central theme of this collection, where the nature of time is distorted and subtle androgyny appears not as an inherent entity but as a fluid choice. Written in 1928, just three years after the founding of Fendi, literary references to "Orlando," a love letter from Virginia Woolf to Vita Sackville-West, are scattered throughout the collection. They appear in the form of a metal-bound notebook clutch, a mother-of-pearl minaudière, or as inscriptions on leather boots. Accompanied by music by composer Max Richter, members of the Fendi family and friends read excerpts from letters exchanged between Virginia and Vita during their decades-long relationship.

Bloomsbury Group's Sussex base, Charleston Farmhouse, is close to where Kim Jones spent much of his childhood, and motifs found there have been brought to life in the form of beaded boots and hand-painted heels. Frescoes by Vanessa Bell and painter Duncan Grant, which adorn the walls, are embroidered on gowns. "I admire this family, especially the two pioneering sisters, for their lifestyle, the freedom they forged, and the art they left behind," Kim says.

A hand-printed, marbled book by Virginia and Leonard Woolf, published by Hogarth Press, was on display at the show, transporting the viewer to a world of classic Italian aesthetics. The collection showcased the harmony between the two elements, evoking the marble tones of Rome's Galleria Borghese and incorporating dramatic Desabiers drapes reminiscent of Bernini's sculptures. (Vanessa Bell was so enthralled by Italian classicism that she painted in the Borghese Gardens and recreated the master's works to hang on the walls of Charleston.) Marble was a key element in the collection's visual language, as seen in jacquard and silk gowns, as well as fur inlays and hand-beaded tailoring.

Through Kim's contemporary lens, Fendi's history also figures prominently. The cast are transformed into biographies as the archives are mined for sculptural sketches and embellishments. The velvet ribbons on vintage bags are replaced by new designs, and Karligraphy, featured in the late designer Karl Lagerfeld's final collection, appears as beading on boots.

The importance of "family", real or chosen, is celebrated through the cast who model the collection, as each model places themselves in a glass display case, which is transformed into their own private room.

Kim Jones says: "Fendi embodies the highest level of craftsmanship. Above all, family is an indispensable part of Fendi. The third generation of the Fendi family is at the helm, and I have the fourth generation involved, making guest appearances. I am surrounded by strong, powerful women whom I love and respect, and I hope to incorporate their energy into my work."



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