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The Mulleavy sisters bring a uniquely idiosyncratic blend of crazy inventiveness and a perversely sophisticated loving-hands-at-home passion (think macramé, patchwork, quilting) to the New York collections that sets them apart from anything else to be seen here. This season their imaginations ran wild.
“Medieval fantasy world,” said Kate backstage after the gloriously quirky Rodarte show. “Fantasy role-playing games,” chimed Laura. What roles did the sisters have in mind? “I think it could be anything,” said Laura, but then reconsidered and added, “being who you imagine your best self could be.”
There was certainly a hint of a sci-fi Galahad in the armorial silhouettes, often built up with a variety of unexpected fabric combinations horsehair, leather, iridescent synthetics, geometric-pattern perforated lace, filmy chiffons, and heavy-bodied silks in a wintry palette of pastels un-prettified with black and jewel tones. Like eighties Flash Gordon heroines, the opening looks featured strapless dresses with short, triangular-shaped skirts with complicated built-in breastplates (sometimes created by origami-pleating the fabric) worn over printed second-skin turtlenecks. Matelassé brocades stiff as samurai armor were used for cuirass bodices, peplum flaps, and even molded epaulets. And there was a hint of an arcade-game Guinevere in the drifts of chiffon printed with flowers and ivy tendrils, and in the belts garlanded with ropes of steely chain.
Tina Turner’s striking costumes from Mad Max Beyond Thunderdome may have been an inspiration too, and if yours is a Hell’s Angels fantasy, there were some fantastic black leather biker jackets with a vague hint of eighties Claude Montana, overscaled and reproportioned, and bristling with leather fringe and inset with fiery licks of shantung and leather pants slashed and cross-laced from here to eternity.
In a season where footwear is sobering up, the Mulleavys opted instead for elaborate high-rise shoes with molded (laser-cut) heels and complicated strap treatments in a patchwork of fabrications and colors. But then again, with sensory overload on the brain, why stop at the ankle?
The Mulleavy sisters bring a uniquely idiosyncratic blend of crazy inventiveness and a perversely sophisticated loving-hands-at-home passion (think macramé, patchwork, quilting) to the New York collections that sets them apart from anything else to be seen here. This season their imaginations ran wild.
“Medieval fantasy world,” said Kate backstage after the gloriously quirky Rodarte show. “Fantasy role-playing games,” chimed Laura. What roles did the sisters have in mind? “I think it could be anything,” said Laura, but then reconsidered and added, “being who you imagine your best self could be.”
There was certainly a hint of a sci-fi Galahad in the armorial silhouettes, often built up with a variety of unexpected fabric combinations horsehair, leather, iridescent synthetics, geometric-pattern perforated lace, filmy chiffons, and heavy-bodied silks in a wintry palette of pastels un-prettified with black and jewel tones. Like eighties Flash Gordon heroines, the opening looks featured strapless dresses with short, triangular-shaped skirts with complicated built-in breastplates (sometimes created by origami-pleating the fabric) worn over printed second-skin turtlenecks. Matelassé brocades stiff as samurai armor were used for cuirass bodices, peplum flaps, and even molded epaulets. And there was a hint of an arcade-game Guinevere in the drifts of chiffon printed with flowers and ivy tendrils, and in the belts garlanded with ropes of steely chain.
Tina Turner’s striking costumes from Mad Max Beyond Thunderdome may have been an inspiration too, and if yours is a Hell’s Angels fantasy, there were some fantastic black leather biker jackets with a vague hint of eighties Claude Montana, overscaled and reproportioned, and bristling with leather fringe and inset with fiery licks of shantung and leather pants slashed and cross-laced from here to eternity.
In a season where footwear is sobering up, the Mulleavys opted instead for elaborate high-rise shoes with molded (laser-cut) heels and complicated strap treatments in a patchwork of fabrications and colors. But then again, with sensory overload on the brain, why stop at the ankle?
Selections by ANDREA JANKE Finest Accessories
Photo Credit/Source: © VOGUE
Photography by © Yannis Vlamos/GoRunway
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