As a child, the fashion designer Michelle Rhee was rather shy and fascinated by how, in lieu of spoken words, clothes could communicate on behalf of their wearer. “That always gave me a sense of confidence,” says Rhee, who’s drawn to minimal but evocative aesthetic objects of all kinds. No wonder that, when she studied art history in college, she was taken with German Expressionism, the early 20th-century movement whose practitioners dispensed with strict realism, leading instead with their emotions. “There’s a classicness to those paintings, and yet they’re charged with so much energy,” says Rhee, 33. The same might be said of the 18 pieces that make up
→ Continue reading at The New York Times
