(images via intermoda)
i really, really don’t know why, but i’ve honestly never been able to forgive peruvian designer sitka semsch (Ситка Семш) for once declaring that she doesn’t see a difference in fashions between her home country and moscow, where she regularly exhibits her wares. i mean, for the most part, i’d say i’ve pretty consistently liked (or even loved) her clothes (see f/w 2011, s/s 2012, f/w 2012), but all the same, each time she’s up for another round, i’m alllll ready with the side-eye.
and yes, maybe i should grow up, but just: there it is, and i’m owning the fact that i don’t trust designers who can’t see or appreciate the details. and it has kind of, for better or worse, shaped the way i take in ms. semsch’s collections–which, by the way, i ought add, i still do appreciate, as of course i do her latest, for the f/w 2013 season. the deeper jewel tones rather reminded me of the work of mexican designer lydia lavin, and there was quite a lot of knitwear at play, which, the russian msn lifestyle site pointed out, led to (trans.) “(f)lowing, soft silhouettes.”
anyway, in terms of the designer’s inspiration and theme and all of that nonsense, it seems as though (and there has been a lot of this in russia this season) the critics were all getting different information. first off, both intermoda and the site name i live to quote, the russian procapitali$t argued that the range (trans.) “recalls the time when there was a winter in South America,” which i suppose means that it was evoking a particularly intense winter in peru, or something like that. okay.
but! on the other hand, according to the russian website look at me, which seemed to do a pre-show interview with the designer, and as such frames their commentary in ‘before’ terms, that (trans.) “(t)he image of the Inca princess, which served as the inspiration for…[the collection], is presented through the prism of the present. It will feature short and long flowing evening and cocktail dresses, skinny pants and layering with a flying structure, as well as knitting.”
“The colour palette is dominated by silver, black, orange, burgundy, green and blue,” (again, trans.) they prattled on. “The fabrics used for the realization of the image of the Inca princess include a lightweight silk chiffon, soft wool, taffeta, organza, and textured brocade. Also in the collection is a line of accessories, [including] suede shoes on a high wedge heel, [which are] dark gray in colour and decoration.” um hmmmmm.
so. can we say, perhaps that both a south american winter and an inca princess could have informed the designer’s thought processes as she was working? i suppose so, particularly as we could see how the former could relate in terms of colour and such, and the latter maybe, like, in cuts and the actual layout of the pieces. anyway, the russian site shop comme seemed to maybe concur, while elsewhere, in a slightly different vein, the russian website top-garderob quoted the designer as stating that (trans.) “(t)he atmosphere and femininity at the same time is women’s power. These garments aredesigned for the woman who knows what she wants in fashion and in life.”
that sounds pretty basic and standard fare, i guess, so nothing to really enlighten us there. well. as a final thought, there was some quite nice analysis courtesy of the site outletov, which wrote that (trans.) “(t)here are also short outfits: black dresses made of thin material, unencumbered by unnecessary details, and glamorous, with complex silver drapery resembling the texture of the scales of fish, not the brilliance of copper semi-precious stones….On top of weightless evening dresses models wear pretty massive capes, as if designed to save their owner from the searing desert heat.” so. it was lovely. the clothes, i mean. but she still annoys me, and that, i think, is going to just be that (see additional runway images at fmag).
(enjoy the full fashion show video here)