NEW YORK, United States — It’s surprising, given his talent, that Josep Font, the man behind Delpozo, is not mentioned more often in the game of designer musical chairs. He possesses a genuinely singular point of view: Nothing else looks quite like Font’s Delpozo, and Delpozo certainly looks like nothing else. But how do you keep it moving? Font’s otherworldly and often futuristic take on mid-century couture silhouettes defies trend or era. Evolving the approach is challenging.
One trick he has employed is to study something different each season. While many designers no longer cop to a season-specific inspiration — talking instead about “wardrobe-building” — Font typically focuses on an artist or two when designing each collection. The reference offers a refresh; an additional layer of context.
For Spring, it was Maria Svarbova's “swimming pools” series, whose orange-red maillots informed the collection's crepe-y day dresses with soft origami pleating and the incredible raffia headpieces molded into bands and bows on each model’s head. While Font continues to sculpt — shaping them hem of a jacket like a tulip or molding a wavy flourish onto the shoulder of a blouse — there was a new lightness to this collection. For instance, a beigey-pink tulle gown, colour-blocked with canary yellow and whispers of silver, looked like a shooting star, a badge of tulle bursting off the shoulder. Nothing was weighing it down, and the same goes for Font.