At Cristina Grajales Gallery, Ashlynn Park unveiled a collection that seamlessly fused design objects from the gallery’s archive with her own creations. This juxtaposition of old and new mirrored Park’s overall approach to her Spring 2025 line, which she described as a journey back to fashion’s rich history. Her inspiration stems from the iconic works of Madame Gré, Christian Dior, Azzedine Alaïa, and Yohji Yamamoto, figures whose influence resonates deeply within her design ethos.
Park explains, “Their work always provides a clear and definitive answer when I face a design challenge. We’re constantly facing new challenges and looking towards the future, but the solutions often lie in the past.” Park’s own work has frequently been compared to Yamamoto’s, particularly his exploration of fashion history. This parallel is likely to continue with her Spring 2025 collection, which features a captivating reinterpretation of the tuxedo.
Park’s tuxedo takes the form of a one-button mid-length black coat with a subtle hourglass silhouette. The magic lies in the back, where a playful interaction of the shirt and coat creates a stunning black and white interplay. Although familiar with the famous bustle-backed coat recently showcased in Milan, Park found inspiration in Alaïa’s meticulous engineering of a shirt and jacket, which she translated into her smoking look.
Park dedicated a month and a half to perfecting the drape and tension of a Grecian-inspired black jersey gown, drawing inspiration from Gré’s signature style. The gown’s rolled waist detail adds a touch of elegance, and a vibrant red version is beautifully styled over a simple long-sleeved top.
These gowns, along with a sleek eel-skin tunic and an asymmetric leather corset top, all embody Park’s signature puzzle-piece technique. The influence of Christian Dior, a constant reference for Park, is evident in her reimagined Bar jacket.
Park’s version sheds the traditional padded hips, replacing them with a floating cloud of tulle and exposed boning that gracefully complements a long, draped skirt. It’s a playful departure from the norm, showcasing Park’s talent for taking the familiar and giving it a fresh, contemporary spin. The jacket is paired with a simple bra, highlighting a minimalist approach to layering.
A white sleeveless dress with a romantic peplum, designed using a no-waste technique that connects squares of material, echoes the silhouette of the Bar jacket, albeit with a different construction.
The second room of the exhibition featured designs that stood tall and proud, reminiscent of the caryatids of the Erechtheion’s Porch of the Maidens at the Acropolis. A black column dress with a Fontana-like slash of white evokes an air of timeless elegance, perfect for a discerning individual like Chessy Rayner or Mica Ertegun.
This collection combines the more familiar with the new, incorporating both evening-focused and casual looks. While the individual pieces are undeniably captivating, the juxtaposition of these distinct aesthetics creates a sense of discord, adding an intriguing element to the collection.
Park’s exploration of past fashion extends beyond historical influences, encompassing her own design archive. She drew inspiration from her Spring 2023 collection, which featured a performance by dancer and choreographer Yin Yue, resulting in a jersey jumpsuit with a slightly low, V-shaped yoke and draped harem-style pants. The look is completed with a bandeau-like cardigan that reveals a subtle sliver of skin at the shoulder.
There’s a distinctly Martha Graham feel to this piece, yet it remains undeniably of the moment, echoing similar silhouettes seen in Alaïa by Pieter Mulier and Norma Kamali. The concept of softly gathered material that embraces movement is, in its broader sense, synonymous with freedom.
