Designer Tara Subkoff recently presented the Imitation of Christ Spring 2027 collection at The Hole, reviving a provocative concept from 2002. The show flipped the traditional fashion hierarchy by inviting guests to walk the catwalk while models watched from the audience.
The 2002 concept that swapped models for guests at The Hole
The recent presentation served as a poignant echo of a show held just days before the September 11 attacks. During that original era, Subkoff worked alongside co-founder Matt Damhave and creative director Chloë Sevigny, heavily influenced by the Marxist-leaning Situationists. This movement, championed by figures like Guy Debord,argued that genuine lived experiences were being eroded by the mere consumption of commodity images .
As the repot notes, the 2002 show was intended to be a historic moment where the roles of the critic and the subject were reversed. In that previous iteration, guests found themselves being appraised by models equipped with pens and pads. By reprising this concept now, Subkoff is attempting to bridge the gap between the tactile , human-centric fashion world of the past and our current era of digital saturation.
Central Saint Martins grads Ed Teller, Lily Teiger, and Greg Harrison join the mission
For the Spring 2027 collection, Subkoff has expanded her brand's mission by co-creating with emerging talent. This season features collaborations with recent Central Saint Martins graduates Ed Teller, Lily Teiger, and Greg Harrison. The resulting pieces remain recognizably Imitation of Christ, characterized by vintage materials, lace, lingerie, and a strong emphasis on slip dressing.
According to the source, the collection utilizes the brand's signature three-cross emblem and focuses heavily on the art of upcycling. These garments, which were made from vintage stock, are set to be available for viewing and sale at Surrender Dorothy. The designs range from simple interventions, such as adding fluttering ribbons to a neckline, to more complex structural changes that allow a slip to drape with new, sinuous movement.
Trading digital spectacle for community-focused upcycling
Subkoff’s approach to fashion is a direct response to the modern "spectacle on steroids" created by constant digital stimulation. She expressed a desire to move away from the optimization of the self and toward a more community-focused approach, particularly as a way to address the palpable threat of the climate crisis. The designer noted that her goal is to foster playfulness and a sense of shared enjoyment in beautiful things.
This philosophy stands in stark contrast to the current landscape where fashion is often consumed through a screen. Subkoff recalled a time when you had to physically atteend shows to see icons like Isabella Blow in her hats, emphasizing that fashion was once about being part of a tangible, human community rather than just watching a stream online.
The unanswered question of how much the designers actually alter vintage
While the collection celebrates upcycling, the specific boundaries of the design process remain somewhat ambiguous. A recurring question for the brand has been the exact degree of intervention required: how much of the original vintage garment is preserved, and how much is fundamentally reconstructed? Subkoff suggests that the value lies in the vision and the relationship between the pieces rather than a specific number of labor hours per garment.
Furthermore, there is an open question regarding the impact of such a concept in today's market. the report suggests that because we live in a world of constant information and digital spectacle, a revival of a 2002 concept may not carry the same disruptive weight it once did. it remains to be seen if Subkoff's mission of community can truly pierce through the noise of the modern internet culture.
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