(images via vogue)
so, like, this might be the only time i ever do this and admit the fashionies were right, but after coming in rather late in the game to appreciation of erdem‘s work (see pre-fall 2012, s/s 2013, pre-fall 2013), i must admit that designer erdem moralioglu is thoroughly awesome, and i’ve no idea how i’ve managed to miss that fact so very long. maybe it’s simply that london fashion week is awash in so many print/colour houses, and his work just kind of got lost in the shuffle for me, but nevertheless, i know him now, and loved his dark, wintery florals and sparkles for the f/w 2013 season.
and so, on the critical end of the equation, there was a lot of fuss to be heard. “Layers of black organza shrouded nearly every look, creating a veiled, surreal effect on paillette-covered dresses, tweed suits, and oversize coats,” fashionologie swooned. “Silhouettes were as ladylike as ever — high necks, slims skirts — but thanks to seams that had been sliced away and replaced with sheer fabric, there was a newfound sexiness at play as well. As for the floral prints and romantic laces…(t)hey came in shades of lilac, midnight blue, citrine, and inky black, and were decorated with wispy ostrich feathers, matte sequins, and metallic thread — all of which was also veiled in layers of sheer black.”
and uk vogue weighed in that “he showed us another side of him and his woman. She was demure and sexy and has chosen black as her wardrobe canvas of choice mixed in with lilac and pink and occasional bursts of purple, acid green and yellow to continue on from last season’s neon punch. It was this use of black, though, that made this one of Erdem’s best collections to date – because it unexpectedly suited him and his aesthetic so well, adding an extra layer and in fact an extra magnifying glass to his talent for texture and textile.”
“This time around things were about to get much, much darker,” grazia said in their best orson welles voice. “Plotting a gothic course in sheer black chiffon and heavy boucle, Erdem added drama with ruffed collars and cuffs to curve hugging lace dresses. Dress cuts varied between 50’s fullness and tighter pencil shapes, while separates also featured – most notably the fluffy navy and burgundy striped matching sweater and skirt which cropped up midway through the collection….Adding further intrigue, polka dots were bonded on to the black chiffon, bringing a quirky off-kilter feel to the polished looks.”
meanwhile, according to the washington post, “(t)he show began with all-black dress and coat ensembles, with a rich mix of textures to keep things interesting: Feather trims, boucle, exposed zips and shimmering sequins on sheer blouses. There were deep burgundy and black lace dresses with a contrasting pale blue collar, followed by Erdem’s signature florals in knee-length dresses. The dresses introduced pinks, purples and neon yellows to the collection’s palette, though the color was largely subdued by the sheer black layers over them. The final pieces of the collection returned to just black, playing on sheer layers of lace, velvet and polka dots — sometimes all together.”
and fashion week daily described how “(a)s the first few looks portended, sophisticated shades of noir was the overriding aesthetic, with darkly sexy stretches of sheer paneling. The floral-adoring designer didn’t abandon his penchant for buds, thankfully. Flora simply got overlaid with said layers of black gauziness. This took shape as abundant iterations of all-black, tinged with sexy detailing…A captivatingly noir twist on the pretty polish Moraliogllu has made his name crafting.”
“The lean, rather prim silhouette allowed Moralioglu to decorate in light layers, adding on floral embroideries, feathers and shiny PVC treatments without sacrificing polish,” reflected wwd. “Two of the best looks featured interesting use of black lace on illusion dresses that were traced and dissected around the shoulders, neck and waist with sheer panels. For all the black, there was a fine use of color, too — pale pink, burgundy and a single bright acid green used sparingly and to potent effect.”
and elsewhere, us vogue opined that “(t)he subtle hits of citrus green, and hot or blush pink—and Moralioglu’s ultrafeminine floral prints and elaborate multicolored Swiss lace—carried punch as accents next to the black. ‘Dotted fabrics traditionally have connotations of lady and prettiness,’ Moralioglu explained, so he ‘punched in’ the spot design instead—or replicated the traditional embroidered net motif in a shining synthetic dot. Those charming florals were subverted further still when they were perforated (to aerate a bonded satin coat, for instance), or veiled in moody dark net.”
finally, though, we heard from elle, declaring that “(t)he stand out pieces were the most intricately embellished; black silk pieces covered in pink and blue beaded flowers that each had an ostrich feather waving from the centre; black and pink sequined pencil skirts and tops that were topped with matching voluminous ostrich feathers; and full skirts and cropped jackets that we covered in appliquéd flowers. The show had more of a dramatic, femme-fatale feel to it that we’ve come to expect from Erdem. But it felt like an accomplished and sophisticated leap forward – and we loved it.” so did i. hands down, it was my favourite print show of the week.
(see the fashion show video here)