I hesitate to put forth opinions on a collection emphasizing deconstruction. Txell Miras’ s/s 2007 collection entitled, “Desencorsetant” (Uncorseting) goes down that path, and since I am anything but an expert tailor I’ll steer clear from judgment in that regard. Like fellow conceptualists Rei Kawakubo and Viktor & Rolf, Miras’ ability to stir up thought is part of her signature style. In Desencorsetant I first see hatching corsets and think of matryoshka dolls, nested garments being something Viktor & Rolf have done in the past. Then I digress further into the chicken and the egg problem, which of course leads to an even thornier philosophical issue: Which came first, the woman or the corset?

Txell Miras s/s 2007, detail www.elcorreodigital.com

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“‘If every fashion school graduated one talented person each year,’ Mr. [Bryan] Bradley said, ‘I don’t think there’s room even for them in the business.’” (Cathy Horyn’s “The End of the Affair” New York Times September 7, 2006). This is a discouraging outlook for young designers wanting to make it in the fashion business as it functions today. It is possible that this opinion can be proved wrong, but as Bradley has been designing for his independent label Tuleh since 1997, he likely understands these stark realities all too well. There is, however, an alternative. Now may be the time to forego the ambition to present at fashionable courts in Paris, New York, London and Milan in order to maintain local talent and production. The following is a perfect summation by the folks at JC Report: “We believe that the future of design — at least, the most exhilarating and original concepts — is in the variety of indigenous artisans.” Indeed, cultural diversity is a precious resource that must be maintained and celebrated.

Oaxaca gold silk embroidered dress from Xochiquetzal

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