As a reaction to the prettiness of his spring collection, Erdem Moralioglu started work on his fall clothes by “looking at the codes of what it is that makes a lady—and turning them on their head!” And although the designer stayed true to the ladylike DNA of his brand with elegant silhouettes evocative of mid-century haute couture clients—svelte cocktail dresses, wide-cut evening coats, a short swing jacket with a standaway collar, and the season’s strong sweater and (pleated) skirt combinations—he tweaked the looks in subtle ways that began with the fabrics and gave his work an exciting edge.
“Mixing plastics in with lace felt new and uncomfortable for me,” he said, and so, inspired by latex pieces he discovered in a fetish store, he worked with textile mills in Como, Italy to lacquer his refined fabrics (silky tweeds and those enchanting laces) with a glossy, high-sheen veneer—a sophisticated effect far removed from the original.
Erdem was also thinking of “this woman who eats art and fashion!”—embodied by Peggy Guggenheim, the formidable mid-twentieth-century art collector, dealer, and patron, who held court in her palazzo on the Grand Canal in Venice, an inspiration for the rich Venetian tones and dappled, Impressionistic prints in the show. With art on his mind, it was appropriate that Erdem set his collection in the distinguished White Cube Bermondsey gallery (currently showing Anselm Kiefer’s epic sculptures); a clean backdrop against which to admire the intricate detailing of his clothes—including graphic use of black lace, to veil jacquard prints or re-appliquéd into bold, abstract patterns (on hot pinks, puce, or inky lagoon blues); or a scattering of bright jewels on a coat printed with a shimmer of colors like sunlight on the lagoon (Erickson Beamon made the matching multihued brooches that trimmed coat collars and “jewel” necklines).
He also created trompe l’oeil effects that suggested various garments were being worn together—a strapless cocktail dress that seemed to be layered over a turtleneck, or a corset worn over a simple sleeveless top. And despite the elaboration of technique and decoration, the collection remained as light as air—down to those miraculous shoes created for Erdem by Nicholas Kirkwood that appeared to float above their solid black heels, thanks to the strip of clear Lucite separating the upper sole from the heel itself.
And yes; I am back. I still have 13000 comments to moderate and loads of stuff to fix, but I’ll try to keep you up to date.Read More