Modern Legacy‘s Kaitlyn Ham would make Coco Chanel smile in her grave. The monochrome masterpieces she pieces together are the epitome of simplicity, comfort and sophistication. Kaitlyn’s warbrode is fuelled by Wendy Adams’ infatuation with black and a new bride’s inherent longing for white. Her garments tend to hang loosely, boasting their easy wearability. Kaitlyn interchanges between black and white, deconstructing the common misconception each is better attuned for certain seasons. Each outfit oozes an effortless air which makes its execution all the more seamless.
A little history
Black and white are each other’s perfect stylish counterparts: softness and heaviness, light and darkness, purity and sin. Up until Gabriel Chanel’s iconic introduction of the LBD in 1926, black had failed to gain entry to the fashion world.
White was a colour typically associated with cleanliness and as a domino-effect, status and power. Black on the other hand, was synonymous with women in service. No wealthy woman wished to be caught sporting similar attire to her maid. Only in times of mourning was it conventional for women of all status to sport black. The aftermath of World War 1 created an immense influx of widowers wandering the streets, swathed head to toe in ebony.
Coco’s LBD was dreamed up for the modern woman, with its long sleeves, calf-length and diagonal lining. VOGUE featured her dress in 1926 and christened it ‘a sort of uniform for all women of taste’. With these gospel words and Coco’s genius, a classic was born which shook the foundations of many’s fashion preconceptions. VOGUE likened it to Henry Ford’s Model T, restating the American industrialist’s words, ‘any customer can have a car painted in any colour that he wants so long as its black’. The commonplace phrase ‘x is the new black’ confirms the authority of this immortal fashion.