. The dress was exquisite, made even more so by the statement Porter made by wearing it. “It really allowed us to create a space where we can allow queer people to feel comfortable and safe,” says Ratelle. “And completely break that barrier of what gender means.”
Porter and Anderson are clearly in their element in the studio: Anderson, relaxed after a month-long holiday, is revelling in his new-found ally, as they traverse gendered-clothing boundaries together. Meanwhile, Porter is taking in every moment of what he calls “the professional shows” – his first-time FROW appearance was in January this year, and he hasn’t previously attended London Fashion Week.
“For me, as an actor, fashion has always been about ‘who do I want to be today?’ ‘What do I want to embody today?’ And allowing myself to explore that in a way that we don't generally get to do very often. We have structured it so much based on gender, that it has been really fun to take those gender shackles off, and [to remove] that desire or need to be masculine in a world that stresses that that's the ‘better’ thing to be – and [instead to] just simply.
“I fell in love with the Canadian artist Liz Magor. She collects random things, like toys and tulle or fabrics, [encased in] boxes. So that idea of ephemera – research and being obsessed by certain things – also informed this collection.”BP:More from British Vogue:
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