No Sesso Struck "Ghetto Gold"

December 14, 2021

For the eminent brand No Sesso, ‘no’ is not an answer worth accepting. The brand shattered all glass ceilings, and history, in 2019’s New York Fashion Week and has returned with yet another collection like no other — a collection defined by richness and opulence, yet one that still remains tied to No Sesso’s roots of empowering all identities and backgrounds.

Collection 4, “Ghetto Gold,” debuted at Art Basel Miami, establishing the line as not only garments to grace our physiques, but works of art to be proudly flaunted. “Ghetto Gold” takes us to an enchanting realm where the only thing that radiates brighter than the silky textiles and glistening jewels employed in the designs is the melanin of each of the models’ regal bodies.

Interview by Kayla Curtis-Evans
Photos by Kennedi Carter
VFX by Chris Cadaver and Louis Celano

Rejoice in the power and grandeur of “Ghetto Gold.” office had a chance to sit and talk with visionaries and co-designers of No Sesso, Pierre Davis and Autumn Randolph, where we discuss the broader philosophical ideas that reinforce the collection, their experiences designing their first-ever full couture line, and more.

Your latest collection, “Ghetto Gold” is inspired by Afrofuturism. I think that’s such a magical theme to build from. Why did you decide that now was the time to present a collection of that theme?

Pierre — I think Autumn and I tend to keep Afrofuturism as a theme, always, in every collection. This collection is different in the styling concepts — we wanted to do more of a couture collection and change the range from just doing a ready-to-wear style collection. But as far as Afrofuturism goes, that's something we always look to as inspiration.

Can you tell me a bit more about the collection film that showed alongside the couture collection? What was the creative vision for the film?

Autumn — 3BLACKDOT, the production company, approached us and we had been working on the collection for a while, but not knowing how we would put it out. We were thinking of a photoshoot of some sort and decided upon shooting with a green screen. So we knew we would have to eventually find someone who could work on VFX effects, which actually took a while as well. The inspiration behind it was — well, I think it kept evolving — but, of course, there was Afrofuturism behind it all to back the elegance and decadence, but also some of the more subtle or minimal pieces that we have as well. We wanted to create along the whole spectrum of bare body to glamorized body — but amongst the same story. I wanted to go in-depth about how life began and sacred geometry and so many conversations and theories, and so forth. We were only able to get so much out of the film at this point, but I really like where it ended up. Kind of this intergalactic, sci-fi world, very alien-esque — just these independent, dark spaces. Almost like the movie, “Interstellar,” with all the colors and so many different elements.

I really like how a lot of the things you guys have done before are about opening up conversations in multiple different realms. In this collection, there's that sci-fi basis and it delves into historicism too. I also appreciate the way that you guys intersect with art. What qualities establish your pieces past just clothing? To me, they're actually pieces of art, so what do you think makes them that way?

Autumn — Because we're so artsy — we just are that way!

Pierre — I think also, with this collection, Autumn and I were inspired by statues and how garments are draped on a statue, and how it still shows draping even through that hard texture. We were inspired by other black artists as well and just wanted to create, again, an artistic, conceptual collection. When you think of couture, a lot of it is done by hand, and when you think of work with art, a lot of it is also hand-made. So, that's another concept — we think of everything as if it's a painting or sculpture. We want everything to look just as fab on the body as it does in an installation or in a room hanging up.

What is your favorite out of the 19 looks debuted and can you share the story behind it — what went into making it, the materials used, the inspiration behind it?

Autumn — We already know. Asia's look.

Pierre — Yeah, so the original dress — we called it the one titty dress. It's a dress that we started in 2020, for the show we did in February, and then we noticed that people were kind of copying that dress. So Autumn and I wanted to design a collection that was based off of that dress. And instead of going off about people copying, we just decided to challenge ourselves to make it even better. The dress Asia wears is black and it has jewels all over it. There's a built-in corset that we custom made for it and all of the jewels were strategically placed. There's tons of hand-sewing and it's really challenging to hand sew on silk chiffon. I would say my second favorite look is this fur coat that Cheyann wears. It's one of the later pieces that we added to the collection; we were like, 'We need some outerwear; we need some drama in the collection.' So I hand-sewed the fur coat — there's no machine involved, just my hands going in on that coat.

If you want drama, then a fur coat is perfect. I know some of your past collections have used some repurposed materials. Did this one?

Pierre — The handbags in this collection use recycled materials from past seasons. They’re really cool patchwork bags that Autumn and I patched together.

Along the lines of the theme of this collection again — what does a hopeful future look like to you?

Autumn — A future with opportunities. Opportunities to create and more resources to do that as well.

Pierre — When Autumn and I are creating, we are creating based on a narrative, a story. With this collection, it was to show the future of black elegance, and beauty, and what we want our future to be like. We channel the future that we see at that time in every collection that we're putting together. We want to keep creating these spaces with peace and opportunity, and just life. And for everyone to be able to exist the way that they want to.

You are known for bringing people together in more ways than just your inclusive designs — but also through exhilarating parties, music, and even educational discussions. Do you have any plans to further expand the scope of what you guys do as a brand?

Pierre — In 2022, it would be nice to start doing embroidery workshops and whatnot again. I think everyone's just now getting back into the flow of connection, especially in LA. So in 2022 I definitely see us being able to have those spaces where we're teaching people and doing other types of interactive activities with people in our community.

Autumn — And also furthering the conversations we have already created through the narratives we’ve put forth.

You, too, can traverse the said narrative, by viewing office exclusive collection photos, as well as the collection film, below.

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Words and photos by Izzy Capulong

The Spanish-born London-based designer has been well-loved for his genderless tailoring, latex mastery, and overall message of empowerment. Dressing everyone from ravers to A-listers, De Javier’s latest drop pushes his design repertoire to a new level. “While designing for my celebrity clientele and showcasing my creations on the runway has always been my dream,” he notes, “It’s equally important to me that my brand resonates with a wider, more diverse audience.” While this collection’s medium has shifted from corsets to sweatshirts, the classic LDJ avant-garde sensibilities remain. Bikinis and booty shorts are shamelessly emblazoned with “PUTA,” blazers are constructed with ample shoulder padding, and I had my eye on the cheekily-named “Faguette Bag.”

The Puta collection will be available exclusively on emcee.

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In the wake of significant challenges including the ongoing Russo-Ukrainian war which has heavily impacted production and logistics, Syndicate continues to innovate by integrating themes of survival, resilience, and the complex emotions involved in modern relationships. The collection features bold, thematic elements such as textual prints derived from real-life break-up phrases embodying the irony and emotional depth of contemporary dating narratives.

Some of the collection prints were created in collaboration with Magalie Heroux — a London-based graphic designer, the "Dating Olympics" collection employs a mix of early 2000s aesthetics with simple, impactful fonts and ironic slogans, capturing a nostalgic yet fresh vibe. The use of heat-reactive techniques further enriches the tactile experience, emphasising the warmth and connection that are essential to human interaction.

Text Alex Blake
Photography Vidar Logi
Styling Ira Vasylevska & Magalie Heroux
Casting & Production Andriy Zozulya, Taras Schevchuk
Hair Ruth Javy
Makeup Martina de Rosa
Models Sleeze McQueen, Dylan Proudfoot, Olive Harvey
Assistant Tony Poly

Shot by the Icelandic photographer and frequent Björk collaborator Vidar Logi, who's known for his distinctive style that blends natural landscapes with human elements, the “Dating Olympics” campaign is the perfect visual ode to the creative vision of the Syndicate founders Taras and Iryna.

With this collection, Syndicate not only addresses the hardships faced by many due to the current geopolitical situation but also celebrates the enduring human spirit to love and connect, even in times of adversity. The "Dating Olympics" is more than a fashion statement—it's a testament to the resilience and adaptability of love.