(images via intermoda)
although i’m usually pretty disgusted with myself at running so behind in my coverage of the various fashion events, i can also admit to some extent that there’s something of an upside–it usually means there’s a lot more information published on the collections we’re going to discuss. and indeed, though it’s fun to be first out of the gate, it can also make things quite a bit harder when we’re trying to source information to tell the story of the range in front of us.
take, for example, the young georgian designer goga nikabadze‘s (Гоги Никабадзе) f/w 2013 display at moscow fashion week. we were only just introduced with the s/s 2013 collection, so while i don’t feel quite comfortable enough to make the leap, most of the sources i was able to consult regarding the collection were more than a little vague when it comes to the subject of the designer’s inspiration. most of the critics seemed to, at best, think it was generally about georgian culture, or something like that.
as the designer’s spring presentation was an exploration of the idea of flowers and flower markets, and as a handful of the show’s opening looks this time around also featured floral motifs, there’s also probably something to be said for the contention that the winter range was a continuation of last season’s work, as the blog we drink here suggested, adding that we saw (trans.) “(w)oolen skirts with huge appliques of flowers, flying flesh-colored dresses, [and] lacquered boots with a modern design.”
however, as spring seemed more ethereal, more flippy and flying, there was something a little more grounded in the designer’s work for fall, though maybe that was conveyed through the heavier materials (knitwear was the major story of the day) and slightly darker, more jewel-tone (as opposed to pastel) inflections the designer prized. anyway, ayla mag also pointed out the eastern vibe that was channeled through items like the turbans models sported, kimonos, and, i could probably add in there as well, some of the florals which had a pressed flower-like appeal.
the livejournal blog burdyugova also attached some significance to the wrapped layers of the clothes, with the heavier fabrics often concealing some type of lace (or possibly sheer textiles), which i guess is to tie in with the eastern aspects as well, or, as they argued (trans.) “hiding her delicate nature behind the masks of strong business women.” that’s interesting, but on the other hand, i don’t think mr. nikabadze’s girls were afraid to be, yannow, girlish, what with their sometimes very short skirts and dresses, and plunging v-necklines.
“Most of [the looks] were voluminous coats with wide sleeves, which favourably highlighted the fragility of the female figure,” (trans.) opined the russian site refashion, and i’d mostly agree with that, while adding that besides this, the dress was the major player of the day, to which intermoda added that the designer drew emphasis through these pieces on the shoulder line and natural waist. i liked that play of femininity, although certainly i wouldn’t have minded if he’d have cut in a pair of trousers or two, but i think in general there was enough versatility in length of dress (maxi, midi, mini), in neckline (low, high with a pussycat bow) to keep one’s interest and find something one likes, though i’m personally more on board with some of those delicious textured short-sleeved wrap sweaters.
(see the runway finale video here)