Thursday 31 May 2012

Resort 2013 Collection | ERDEM

At one end of London, there was her Majesty the Queen, opening the Chelsea Flower Show for the delectation of fanatical followers of sweet peas, irises, and dahlias (currently contenders as top fashion favorites in the horti-universe, please note). And at the other end, in a prettily decrepit house in far-flung Dalston, there was Erdem Moralioglu, arranging his own floral display for resort, a truly delightful bouquet of clothes, inspired, at least in part, by the Queen herself. “Yes, there she is!” he said, gesticulating to an image of HM, in one of her bright pink (call it a sort of azalea) coats, opening something else or other recently.

Consciousness of the Queen and her splendidly unchanging stately style, those edge-to-edge tweed coats; her unmissable bright-pastel palette is creeping into all sorts of places at the moment. On Erdem’s pinboard, she’s been sharing space with his research photographs of Upper East Side ladies, posing neatly on their upholstered sofas and armchairs, and Amish women, in their long, modestly cut dresses. “We’ve had a big quilting bee at the House of Erdem recently,” he laughed. “There’s a lot of patchwork and embroidery going on. I don’t really know what you’d call it Old Lady meets Amish? But what I want to show is how someone can wear it in a serious,  grown-up way, and how someone else can do it in a bonkers young way, too.”

When you really start looking at how he’s cultivating that age-spanning appeal, it’s clever. This resort collection (only his second) has grown to a hundred pieces, which now encompasses printed shirts, trousers, knits, and bathing suits, as well as his more familiar signature cocktail dresses and coats. Within the floral schemes there are vivid, on-the-edge-of-mad patchworks, the hexagons fashioned into stiff A-line, high-waisted skirts or made into coats, or inserted into the midsections of fitted dresses. But there’s also a lot of trompe l’oeil trickery going on in the separates—little lace-collared T-shirts and sweaters whose patterns will merge with the one on, say, a printed silk pencil skirt; joined up, it might look like a dress, but you have two parts to play with in different ways.

Perhaps a bigger breakthrough, here, however, is the way Erdem is beginning to branch out into a new softness. The pair of long, slim georgette dresses with fluttery bias-cut inserts hidden in the skirts (slightly thirties, perhaps, yet far from literally vintage-looking) make a stunning, fresh alternative to his use of stiffer, structured fabrics. The best, you might say, of the bunch.

Selections by ANDREA JANKE Finest Accessories 

Photo Credit/Source: © VOGUE
Photography by © Boo George

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