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London Fashion Week - Erdem, Christopher Kane & Antonio Berardi -
On a fall day when London fashion talent burst vividly into spring bloom, there were no flowers fresher than the ones Erdem Morraglioglu arranged for the delight of his audience at the Savoy Hotel. He chose the perfect place to display them: the hotel's Wedgwood blue-and-white ballroom, against which the colors of his printed cornflowers and delphiniums, primroses and marigolds, vibrated with a dizzyng preciousness. Off-the-shoulder dresses and fitted sheaths wafted by in a whirl of pleats, glazed sequins, crunchy white lace dotted with crystal, anmd generous scatterings of flowers and hummingbirds.
There were also buttoned-up silk blouses and tailored shorts, a more boyish shirt and printed trousers, and incredible trench coats running from powder-blue silk and white pique smothered in hand-embroidered flowers to more gauzy, lace versions. For evening wear, he played on a lingerie theme, sending out ineffably subtle nude lace slip-dresses with panels fluttering at the back.
Christopher Kane - High school uniforms were suggested by abbreviated gray flannel kilts and cabled sweaters with black bands outlining the hem and deep-set arm-holes, but the real innovation was in the reflective flower motifs that a schoolgirl might stick absently over her notebook, or the four layers of flower-appliquéd shiny nylon organza that suggested the peeling floral wallpaper in her bedroom. The glittery metallic brocades in melting pastel colors (with a dash of what Kane describes as "erratic" electric blue) twinkled with silver might have started life as a reflective notebook cover on his inspiration board, but were transformed into structured short skirts and stand-away jackets with a boxy, early sixties-flavor.
That sophisticated sixties futurism also found expressions in stiff satin shifts, spliced with algebraic lines over winking slices of flesh. The glow-in-the-the-dark sticky stars on a bedroom ceiling now glittering as rhinestone at the knees of battered and beloved old jeans, and the impasto crusting of crystal trellis beadwork that decorated the finale pieces (inspired by a single fragment that Kane found in a flea market) took the collection into the loftiest realm of luxe.
"Every cloud has a silver lining", said Atonio Berardi, who opened his show with a dress of pale, cloudy chiffon, its bodice encased in an armorial breastplate of platinum-colored, metallicized patent leather (with the reflective quality of car paint). The dress (with high-in-front, long-in-back peacock train silhouette) was embellished with embroideries that looked almost eighteenth-century in their exquisite complexity but were made of sequins cut from that same leather: a thoroughly 21st-century conceit. "It shines, but it mirrors," explained Berardi of that futuristic fabcir that he also used for his high strappy sandals and clutches, "and it acts as a kind of amor."
London Fashion Week - Erdem, Christopher Kane & Antonio Berardi -
The play of hard and soft, and matte and shine!
Christopher Kane Spring/Summer 2012
London Fashion Week
Erdem / Christopher Kane / Antonio Berardi
On a fall day when London fashion talent burst vividly into spring bloom, there were no flowers fresher than the ones Erdem Morraglioglu arranged for the delight of his audience at the Savoy Hotel. He chose the perfect place to display them: the hotel's Wedgwood blue-and-white ballroom, against which the colors of his printed cornflowers and delphiniums, primroses and marigolds, vibrated with a dizzyng preciousness. Off-the-shoulder dresses and fitted sheaths wafted by in a whirl of pleats, glazed sequins, crunchy white lace dotted with crystal, anmd generous scatterings of flowers and hummingbirds.
There were also buttoned-up silk blouses and tailored shorts, a more boyish shirt and printed trousers, and incredible trench coats running from powder-blue silk and white pique smothered in hand-embroidered flowers to more gauzy, lace versions. For evening wear, he played on a lingerie theme, sending out ineffably subtle nude lace slip-dresses with panels fluttering at the back.
Erdem Spring/Summer 2012
London Fashion Week
Christopher Kane - High school uniforms were suggested by abbreviated gray flannel kilts and cabled sweaters with black bands outlining the hem and deep-set arm-holes, but the real innovation was in the reflective flower motifs that a schoolgirl might stick absently over her notebook, or the four layers of flower-appliquéd shiny nylon organza that suggested the peeling floral wallpaper in her bedroom. The glittery metallic brocades in melting pastel colors (with a dash of what Kane describes as "erratic" electric blue) twinkled with silver might have started life as a reflective notebook cover on his inspiration board, but were transformed into structured short skirts and stand-away jackets with a boxy, early sixties-flavor.
That sophisticated sixties futurism also found expressions in stiff satin shifts, spliced with algebraic lines over winking slices of flesh. The glow-in-the-the-dark sticky stars on a bedroom ceiling now glittering as rhinestone at the knees of battered and beloved old jeans, and the impasto crusting of crystal trellis beadwork that decorated the finale pieces (inspired by a single fragment that Kane found in a flea market) took the collection into the loftiest realm of luxe.
Christopher Kane Spring/Summer 2012
London Fashion Week
"Every cloud has a silver lining", said Atonio Berardi, who opened his show with a dress of pale, cloudy chiffon, its bodice encased in an armorial breastplate of platinum-colored, metallicized patent leather (with the reflective quality of car paint). The dress (with high-in-front, long-in-back peacock train silhouette) was embellished with embroideries that looked almost eighteenth-century in their exquisite complexity but were made of sequins cut from that same leather: a thoroughly 21st-century conceit. "It shines, but it mirrors," explained Berardi of that futuristic fabcir that he also used for his high strappy sandals and clutches, "and it acts as a kind of amor."
The play of hard and soft, and matte and shine continued with that same leather used as a peplum, an arc-sleeved bolero, or a cuircassed corset, over liquid dresses and wide-leg pants in crepe and chiffon. The soft colors were ignited with lipstick-red , emerald, and raven's-wing black. Berardi also cuts a mean fitted cocktail dress and a hourglass jacket (im translucent organza, for more of those shadow-play effects) with a forties femme-fatale edge, but an unlined jacket of fluid crepe has unimpeachable modern elegance.
Antonio Berardi Spring/Summer 2012
Selections by ANDREA JANKE Finest Accessories
Source: VOGUE, London Fashion Week
Photography by Marcio Madeira/firstView
Enjoy my previous post -
'NYFW | Van Gogh's Sunflowers by Rodarte'
Enjoy my previous post -
'NYFW | Van Gogh's Sunflowers by Rodarte'
3 comments:
Elegance is common strand of pearl in all three couture. Erdem is soft, pure & feminine.Christopher Kane is youthful & spirited..tres chic & trendy, satin silk is so rich..I esp love the cheery prints. Antonio Berardi is posh..sophisticated & alluring..Designed for a diva
Dear Shagun,
Thank you for all your lovely comments!!!
I really appreciate it very much! Keep-in-touch & enjoy my Blog,
LoL, Andrea
I really love this designs, so beautiful. Thanks for sharing. I've scanned the QR Code and marked this blog.
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