(images via portugal confidential)
so yeah, i know i’ve said it in the past (see his a/w 2012 & s/s 2013 shows), but there’s something in portuguese designer ricardo preto‘s work that reminds me so veryvery much of hussein chalayan, and maybe part of it is that he’s quite a deep chap, and while his collections are, on their face, eminently wearable, there’s nevertheless something beyond that, concepts that push us, if we’re trying to look for them, and confound us beyond just the simplicity of ‘look at that pretty dress!’, though we can do that too, if we wish.
take, for instance, what mr. preto told the portuguese ionline, of his latest work (trans.): “she wears pixels as textiles is long and straight.” in the fog of the upcoming winter, his girls emerged wrapped and twisted and fluid in pieces that at times featured some sort of complex draping or asymmetry…or were sometimes fairly straightforward in their prettiness. texture was definitely a big part of the story, as, seemed to be, fluidity vs. tailoring, and as per the norm there was enough in the way of varied palette to keep most of us happy.
anyway, in a rather lengthy response to daily moda lisboa on his inspiration, the designer explained that his girl for fall is (trans.) “(l)onging to be modern, seems an annoyance. Revisit the hieroglyphs, geometric Kandinsky, the Bauhaus and its cousins the Cubists. The first and still the vanguards of our times. Who today would regain Eileen Gray’s E-1027 house? Who imagine sitting in your mythical living room? Who will break the rules against the more traditional?”
“Someone with urban peripheral vision whose universe embraces and articulates several satellite worlds at different times,” (again, trans.) he rattled on. “She would choose…silk and wool. Farms cashmere. Mingles with cognac, mustard, blue with black as Mondrian … And the white? … White would be a window where the future was mixed with adventure and DéjàVu. It seems here that this woman walks and moves.” yeow. someone has a lot of marcel duchamp in his life, but that’s okay.
ahem, right, then. so anyway, describing the array as (trans.) “contemporary and modern,” vogue opined that “(i)t came in straight and simple cuts, a minimal line consisting of dresses and fluid tweets, conjugating well in monochromatic outfits,” as the portuguese site maxima largely concurred, writing that (trans.) ‘straight lines on structured pieces contrasted with the fluidity of light fabrics. The collection painted in autumnal tones in thick knits, reinterpretations of classical pieces and even delicate draping.”
range materials, explained portugal confidential, included wool, cashmere, and moroccan silk, as well as plenty of knitwear action (in varying degrees of thickness), while the palette, as i’ve mentioned before, was diverse as anything the designer likes to offer, sailing from dusty wedgewood blue and mulled wine to the aforementioned mustard and black, bark, charcoal, white, and ash, with prints falling everywhere from colour-blocked abstracts to classic pinstripes, geometrics, and pixellated swirls.
the site roupa opined that it was the textures that really saved the day, and while i’m not sure i agree, preferring myself some of the draped or more structured dresses, i do concur with their assessment that the whole show followed through nicely, and from these lovely shifts and shirtdresses to the oversized chunky sweaters, the tailored suiting separates, and the sexier halter-necked black dresses that closed out the show, there’s really a lot here to love, and a lot to build a wardrobe on, besides. and! of course bonus points for the designer coming up with his own version of the season’s ‘it’ colour (red/burgundy), as his came in that lovely washed shade of mulberry.
(enjoy the full fashion show video here)