Lovechild 1979 - AW24

By Clare McInerney

AI-generated architectural artistry inspires Lovechild 1979’s AW24 collection of harmonious contrast and fluidity

Like many in the creative industry right now, Lovechild 1979’s founder Anne-Dorthe Larsen recently found herself chatting to a colleague about AI. The conversation led the team to the work of Mohammad Qasim Iqbal whose AI-generated work merges contours of silk and stone against ornate facades (worth a Google, for those unfamiliar). “His experimentation with AI-generated structures, seamlessly merging renaissance and baroque forms with fluid silk, immediately caught our attention,” Larsen tells me before the show.

Today, Lovechild 1979 brought Iqbal’s AI-generated world to life on the runway, emulating its contours in the sweeping proportions and undulating movement of fabric. It was a feat amplified by the grand surrounds of the National Museum of Denmark which allowed Larsen “to portray the beauty of silk and wool against the stone pillars.”

Floor-grazing scarves were wound at the neck, crisp cotton with paper-like texture “to infuse urban urgency” was bound, swathed and belted at the waist. A diaphanous length billowed behind the final ensemble – a silk escapee from tailored woollen suiting. Offsetting the delicacy, heavy knits were really the main character, with bouclé weave, herringbone, houndstooth, mohair and soft alpaca all out to play. Amongst it all, the hyper-minimalist aesthetic of New York in the ‘90s could seem like an unlikely bedfellow but worked a charm. Contours and contrasts were grounded with simple (and at times masculine) silhouettes, the earthy tones offset by indigo denim and shades of ‘office blue’.

It’s a collection that truly understands the fabrics at hand, executed with an elegance that is bound to resonate with the Lovechild 1979 woman.

See Lovechild 1979's AW24 collection in full below: