The eagerly anticipated spring 2016 show by Erdem began with low giggles from the crowd on Monday afternoon as a platform bearing models was pushed down the long length of a brown, be- fuzzed runway at the King’s Cross Theater by subterranean crewmen. A leaflet on the seat arm containing a detail from the Andrew Wyeth painting “Christina’s World” gave a hint of what was to come.Erdem Moralioglu, the half-Turkish favorite of the British Fashion Council chairwoman Natalie Massenet, would be drawing from naturalistic Americana.There was, indeed, a feeling of the open prairie in black ribbons tied around necks and Mr. Moralioglu’s homemade-looking frills, exquisite floral prints and bared shoulders and elbows. But as it also was as dark as the Little House in the Big Woods after sunset, it was frankly difficult to assess the dresses.As the models bottlenecked at the foot of a staircase during the finale, leading up to another platform across which they had to tromp in high heels and then, carefully, descend in their swishing midi-length pinafores, one couldn’t help thinking of a surely unintentional resonance with Mr. Wyeth’s crippled subject.
Related: http://www.sheindressau.com/short-wedding-dresses
The more thoughtfully illuminated Mary Katrantzou showed a dazzling collection at her alma mater, Central Saint Martins, on Sunday evening.
Many question the point of fashion shows, especially now that they are streamed around the world instantly: a hundred thousand points of light. But Ms. Katrantzou’s intricately patchworked creations were a reminder that if the work is this good, it is cheapened and flattened by photographs. Seeing it in person is like the difference between visiting a planetarium and lying under the unpolluted nighttime sky.This comparison occurs, perhaps, because Ms. Katrantzou’s clothes were cosmology-themed (and how refreshing to have a designer guided by cosmology, not cosmetology — or worse, astrology). Yet while regarding their complex and sometimes floral iridescence in the blue- floored hall before reading the program notes, I flashed on ocean depths and the colorful creatures that dart and lurk around the waving plants there.Like Mr. Moralioglu, Ms. Katrantzou offered basically one dress silhouette, sometimes layered over pants or ribbed toeless tights: short enough to expose the knees, and flared. There was bohemian quilting, and channeling — of graphic lace and metallic thread, not psychic vibes (though she also invoked Rorschach blots and Ariadne’s thread).
A few of the skirts had stiff ruffles attached at the sides. “Fins are the new peplums!” I thought, grasping excitedly for trendlets as I remembered a similar treatment on the skirts of the more accessible Holly Fulton, whose show was earlier in the week. The fins popped up again the next morning when Roksanda Ilincic, the queen of colorblocking, ventured into uncharacteristically ethereal territory this season with pink and yellow feathery dresses for her Roksanda label.
Read more: http://www.sheindressau.com/one-shoulder-bridesmaid-dresses
While fashion used to be a school of fish all swimming in the same direction — hemlines up or down — it’s now more like a tropical aquarium, with its flamboyant occupants jostling to nibble at the rock.Vivienne Westwood used her Red Label show, as is her custom, to make a political statement: lining staff members in colored paper crowns on a balcony, hoisting placards protesting fracking, climate and austerity measures.
Related: http://www.sheindressau.com/short-wedding-dresses
The more thoughtfully illuminated Mary Katrantzou showed a dazzling collection at her alma mater, Central Saint Martins, on Sunday evening.
Many question the point of fashion shows, especially now that they are streamed around the world instantly: a hundred thousand points of light. But Ms. Katrantzou’s intricately patchworked creations were a reminder that if the work is this good, it is cheapened and flattened by photographs. Seeing it in person is like the difference between visiting a planetarium and lying under the unpolluted nighttime sky.This comparison occurs, perhaps, because Ms. Katrantzou’s clothes were cosmology-themed (and how refreshing to have a designer guided by cosmology, not cosmetology — or worse, astrology). Yet while regarding their complex and sometimes floral iridescence in the blue- floored hall before reading the program notes, I flashed on ocean depths and the colorful creatures that dart and lurk around the waving plants there.Like Mr. Moralioglu, Ms. Katrantzou offered basically one dress silhouette, sometimes layered over pants or ribbed toeless tights: short enough to expose the knees, and flared. There was bohemian quilting, and channeling — of graphic lace and metallic thread, not psychic vibes (though she also invoked Rorschach blots and Ariadne’s thread).
A few of the skirts had stiff ruffles attached at the sides. “Fins are the new peplums!” I thought, grasping excitedly for trendlets as I remembered a similar treatment on the skirts of the more accessible Holly Fulton, whose show was earlier in the week. The fins popped up again the next morning when Roksanda Ilincic, the queen of colorblocking, ventured into uncharacteristically ethereal territory this season with pink and yellow feathery dresses for her Roksanda label.
Read more: http://www.sheindressau.com/one-shoulder-bridesmaid-dresses
While fashion used to be a school of fish all swimming in the same direction — hemlines up or down — it’s now more like a tropical aquarium, with its flamboyant occupants jostling to nibble at the rock.Vivienne Westwood used her Red Label show, as is her custom, to make a political statement: lining staff members in colored paper crowns on a balcony, hoisting placards protesting fracking, climate and austerity measures.
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