Guo Pei: Himalaya

Guo Pei: Himalaya Collection, Spring/Summer 2020, gold brocade, Obi fabric

Much like my last blog post, I wanted to look at another Guo Pei collection that especially intrigued me.

Following my recent post about Guo Pei’s Alternate Universe collection, another one especially caught my eye. Guo Pei calls the collection “Himalaya.” Guo Pei creates yet another world where her imagination meets arcane symbology and creates a story. She describes the Himalayas as a holy place with the gods’ residence and the soul’s sacred temple, where the spirits fly up to reach the divine. Guo Pei said, “When I was young, in my heart, haute couture was like the Himalayas, the pinnacle of the pyramid for me.”

As we know, Guo Pei also loves using unique fabrics, which she did again in this collection. Antique textiles were used as a symbol of permanence. She sourced rare obi fabrics from Japan and cut silk kimono belts into squares. She also had traditional Buddhist thangkas embroidered on the reconstructed fabrics. You will find the three buddhas of the three realms and mysteries of the circle of life in three-dimensional, gold thread motifs on thick brocades. This fabric was also used for large sleeves that trail onto the ground or twirled into snow lotuses. The lotuses grow above the snow line and remain uncontaminated, like a pure soul. In her eyes, it is a symbol of purity and the snow goddesses.

Not only does Guo Pei use intricate fabrics, but also extravagant shapes in her designs. Simple silhouettes were inspired by kimonos, and Tibetan garb turned into other ideas. The multi-layered, flowy silhouettes are inspired by traditional Tibetan designs, reflecting freedom and uninhibited nomadic culture at the foot of the Himalayas. The shorter skirts were made of layers of organza that sprouted feathers and bloomed three-dimensional flowers. Even the flowers were designed from a scarce Himalayan plant with prodigious healing properties. As for the finale look, the model wore a ceremonial brocade cape with a long train embroidered with Buddhist thangka using gold thread, pearls, and gemstones.

Many people still do not consider fashion as art because they believe it can’t have interpretations like paintings do. Guo Pei consistently breaks this stereotype by blending her imagination and history together.

Looking at Guo Pei's work again for a third time, I continue to notice new aspects that she purposely incorporates. For the Himalaya collection, this was the reuse of the same materials in multiple works; I felt that the reuse of mediums created a more focused collection, with a clear narrative.