Libertine proves maximalism is still alive and well
By Kristopher Fraser
Sep. 13, 2019
Libertine's Johnson Hartig has long been a master of maximalism. For his approach to color and regular use of mixed-media patterns, subtle was never and still isn't the designer's strong suit, nor should he ever restrict himself to a minimalist approach.
The designer's most recent collection was filled with his usual vibrant prints running the gamut from Uzbekistan ikats, 19th century Staffordshire china, ironstones and full-blown English roses. Similarly, Hartig brought to life a poem by Scottish romantic Robert Burns via modern, graphic letters in exhilarating hues.
With the new generation of daring prints, Hartig also introduced an array of new shapes for the brand. One notable look was a luxurious tie jacket pantsuit with a shimmering effect that danced the line between the traditional and whimsical.
Despite the brand’s classic maximalist aesthetic, Hartig aimed to make his latest collection feel effortless. “We really focused on making this collection wearable” Hartig recalled in a statement as he spoke of the fabric choices this season – light silks, cottons and linens all of which were printed in Italy.
This season also marked the launch of Hartig’s collaboration with prestigious American design house Schumacher, a natural next step for interiors aficionado Hartig. Hartig for Schumacher presents a collection of home fabrics and wallpapers in a variety of buoyant prints, many of which walked the runway along with the models, brilliantly layering ornate, hand-beaded and dazzlingly printed clothing with the coordinating wallpapers and fabrics from his collection. Libertine’s show transported the world of interiors to the fashion stage, making for a true exhibition of art.
photos: courtesy of Mitchell Sams