The perfectly cultivated, vibrant prints were reawakened for a/w but, surprisingly, the signature botanic canvas was left to continue photosynthesising in the spring/summer archive.
"Last season, it was all about the girl, this season it's all about the women," which explains the more sensually ripe and mature impulses. Textural experimentation identified a playful disobedience; silk, lace and velvet stroked the skin, whilst sassy slits disguised themselves under modest necklines and prudish lengths.
Then there were the prints. oh god those prints! Despite detonative dynamite colour alloys, they oozed calm serenity on such soft surfaces as air light chiffon. Provoked and inspired by recontructed abstract prints, the colour splashes were rich, inky and jewel toned, resembling a stain glassed window under sun kissed rain.
Despite overtly elegant artistry, the collection had a blatant commercial selling point due to a natural luxurious opulence. Stand out pieces such as the fitted shift dresses, floor length chiffon wonders and the printed trench sold themselves with out endorsement or the widely publicised support of Michelle Obama or Sarah Jessica Parker.
Filled with romantic decadence, Erdem proved that, although he deserved last year's bfc/vogue designer fashion fund, he certainly didn't need it.
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