2009 September 21
(NEW YORK) Marios Schwab
The flipbook invitation to Schwab's show provided a clue of what editors and buyers could expect from his collection: a mix and match story with three points of view and endless possibilities. Garments were meant to represent past, present and future fashions and were spliced together and connected under the bust, waist and hip in different combinations. Draped skirts and dresses referenced the past while structured garments represented modern-day austerity. Pleating was symbolic of the future, and the cold perception we have of it, but we loved the pleated satin miniskirts in different shades. Anna and Glenda were front row, in addition to every major British editor.
The prodigal son has returned to London and editors and buyers were thrilled to see him deliver his gorgeous dresses in his native land. While Garance and Scott snapped photos outside, Twiggy, Erin O’Connor, Jade Parfitt, Yasmin Le Bon, Oliva Palermo and Leigh Lezark gathered front-row. Satin suits were given added sheen with iridescent blouses, while patterned dresses were paired with graphic jewelry. Sequins, beads, feathers and mirrors embellished dresses, or they were kept simple and figure-hugging, with strategic cutouts. Model Trish Goff, who had her daughter with her, told us that she loves Williamson’s “super prints and layers over the top. I think he’s really evolving as a designer, and his clothes are really fun.”
“I’m a girly girl, so I love all of her dresses,” Tinsley Mortimer said at Jenny Packham, whose show was at the Hospital Club on Saturday. Yes, there was a lot of embellishment – beading, ribbons, metallic lame – but Packham knows how to design a perfect party dress. The fabrics are sumptuous, the cuts are flattering and her clothes bring out the inner princess in every girl. We especially loved the dramatic floor-length dresses with tulle skirts.
Strozyna is definitely a designer to watch. His sculptured collection, with an emphasis on skintight, beautifully cut dresses, with amazing zipper details, showed off a keen interest in geometric shapes and pixilated fabrics. The show-stopping jewelry: oversized cuffs, enormous necklaces, and earrings reaching down to the ear completed the look, as did the dramatic square-shaped liner models sported.
This show was one of those experiences that was so wonderfully London, nothing can top it. As a mob scene gathered outside the show site (a garage on Arundel street), Boy George scanned the crowd in search of a Marlboro light and ultimately bummed one off of an attendee before scurrying in. Other guests included loyal fan and friend Siouxie Sioux, Peaches Geldof (sporting one of Hogg’s leotards from last season), Stephen Jones, Martine McCutcheon (who you may remember from Love Actually, where she played Hugh Grant’s assistant), as well as a lot of rock-n-roll types. Model Liberty Ross (who opened the show wearing only a sheer ribbon tied strategically around her) opened the show, while Alice Dellal and Daisy Lowe stalked down the runway in Hogg’s trademark catsuits, which were reworked in spandex white, black and silver, and even bedecked with crystals, for next season. Hogg can also make a fine dress; there was a red tulle pseudo-tutu on offer that was completely gorgeous. Shoulders were emphasised with futuristic flair, and there lots of cute details, like tulle bunny-tails on the back of leotards and catsuits. The show was entitled Goddess at War, and appropriately, Hogg’s final “bride” model wore a dress with the slogan “War Bride” smeared across the train.
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