“There is always a dark line through my work,” said Matty Bosvan. From that specifically Te-Hom Fil Noir, he added: “I enjoy a lead on the beautiful: a dark lower abdomen, you can see a glimpse.”
BOANPOS applies his handmade exercise to meticulous Deadstock Flotsam to weave fantastic portable worlds. The manifestation of this season was touched by the multidimensional craziness of the female protagonists of David Lynch-Zeker, which last look Cherry Print was for Twin Peaks’ Audrey Horne-en Nolan Miller’s mega shoulder work as the costume designer for Dynasty. Another important actor was Plum, the mother of BOAN, who plays in the lookbook of this season and whose own approach of appearance and style – “she is always of large shoulder fillings and even larger earrings” – helped her son’s sensitivity.
The collection was just as layered as every Lynch character. Viewing Spidery strict with bovan-break-eyelash yarn in sectional color riffs were implemented as upholstery, sewn by hand over powerful silhouette taffeta and tulle bases. BOAN DEADSTOCK SUPPLY CLASED FROM Cheshire-based stretch specialists Friedmans Ltd in flower contours, letters and abstracted battered geometric shapes before they lay them over taftal bases as decorative assembly. BOAN loves his appearance “a bit destroyed”: here he tied his zoom to leave them as a chasty as Krystle and Alexis after their fight in Blake’s Lilypond. Patches of Lurex-Toned Hagedis pattern and Versace-Adjacent Foulard print played against crib-like vectors of lipstickrode tulle that cuts over the Linebacker silhouettes of boshain.
The assembled cast of the season of imagined characters, glamorous and sinister, is finely reflected in this lookbook. To see it go further, there is also a collective film, just posted on YouTube. It crashes this by hand, bobeto–ed visions of Twin Peaks and Denver with the moist sandstone atmosphere of York, the city that framed the intuitively designed universe of BOAN.