It is with utmost pleasure that we scrutinize Michael van der Ham’s new collection. This season, the Dutch designer took his art of fabric decoupage a step further, reaching the delicacy and refinement of Japanese prints on light embroidered tops and dresses. Van der Ham added to his usual patchwork technique by experimenting with burnt, torn and crumpled effects, thus subverting the almost ‘too proper’ appearance of his ladylike dresses. Especially noticeable is his peculiar use of classical prints borrowed from the male wardrobe like tie and dressing gown fabrics for strict jackets and trousers.
Peter Pilotto and Christopher de Vos presented a spectacular collection in flamboyant primary colours, blood red, electric blue, citrus yellow, and sea blue highlighted by white and black, that evolved around the ‘armour’ theme, either the impressive gear of a Sci-Fi warrior or the protective carapace of the animal world: insects, shells and sea animals. ‘Solid’ structured jackets or coats recalled hawkish Samurai costumes, while others hinted at the sporty action woman with flashy and recognizable diving or skiing style outfits. Shapes and prints were oversized as if they were seen through the lens of a magnifying glass. Meanwhile, leopard or reptile-like animal prints and white fur added to the general ‘wild’ impression.
When looking at the Vivienne Westwood Red Label each season, we rediscover Dame Vivienne’s peculiar sense of tailoring: her impeccable dandy jackets and coats, which are flatteringly fitted at the waist, her sophisticated buttoning, bias-cut miniskirts and asymmetrically draped dresses…all in joyful, optimistic colours. Westwood’s gift is indeed a touch of fantasy to women of all ages.
This season, Louise Gray’s self-acknowledged source of inspiration was performance art and the graffiti photo collages of artist Barbara Kruger. Gray’s prints were especially designed for the collection to serve her brightly coloured patchwork aesthetic. She collaborated once again with Robert Clergerie to create shoes with prints that perfectly matched the clothes, Stephen Jones to make ‘trash’ plastic bag hats and also with Lunettes Kollektion to produce ‘fun’ sunglasses and glasses with fake eyelashes attached.
Holly Fulton showed a collection that winked at the Bauhaus movement and the Russian Constructivist Avant-Garde in painting, architecture and advertising. For her prints, Fulton chose abstract motifs, cubic constructions and even photo collages featuring consecutive rows of lipstick that recalled 20’s futuristic advertisements. Indeed, even the colours of the garments, black, white, red and terracotta, were a tribute to this artistic period and added coherence to this meaningful collection.
Christopher Kane also gave in to the warrior trend this season, with a collection that beautifully reinterpreted the camouflage style in unusual autumnal tones, which he luxuriously adorned with fox fur. Then came a series of weaved ‘lace’ Amazon mini dresses with geometrical patterns that enhanced Kane’s own personal taste for delicate detailing. Another technically impressive sub-theme was that of the mysterious flowers sewn onto light silk dresses. Last but not least, came the MRI scan images of a ‘healthy brain’, printed and embroidered onto black satin outfits. Kane’s was a richly themed collection, indeed, which paid tribute to all the fashion crafts, from lace making to embroidery and digital prints.
As for Jonathan Saunders, he presented an ultra-sexy series of lace dresses embroidered with foliage motifs in turquoise and red, while adding vinyl corsets or belts to otherwise ‘reasonable’ outfits. The overall collection was tinted with a certain retro feel as full knee-length skirts, tight waistlines and preppy coats gave the models a 50’s pin-up air.
Louise Kissa
lkissa@neurope.eu