Lucire has had a private preview of Mardle’s spring–summer 2013–14 collection, Bisou, Bisou. And to show that Mardle is the thinking woman’s choice for stylish staples, each of the outfits is named after a Kiss song.
Designer Shiana Weir has put the emphasis more on evolution, rather than revolution, given her feedback from her customers. She recognizes that unlike Europe and the US, New Zealand customers tend not to favour huge changes between seasons.
Characteristic of the collection is the X panel, either through using complementary fabrics on the garment. Similarly, Mardle has used a script X on a print, signalling the custom of signing kisses with an x.
The I Stole Your Love relaxed T blends Modal and polyester, and brings in a light, sheer look for spring–summer. We also liked her Nothing to Lose jacket, with removable shoulder pads that are held in place inside the garment with Velcro. The Shock Me mini-skirt has a distinctive black-and-white pattern, while the Crazy Crazy Nights dress has sequinned sleeves and a nice blush and gold Lurex finish. The Mardle Lizzie leather belt completes the outfits. Weir has also a colour palette that includes black-and-white, gold, and gun-metal grey.
The labels proudly bear the Mardle logo and ‘Made in New Zealand’, which will have plenty of appeal to its Kiwi customers. Mardle can be found online at www.mardle.co.nz, with its stockists (including Dunedin’s Salisbury Boutique and Havelock North’s Salsa) listed here.—Jack Yan, Publisher
Having viewed the Zambesi winter collection late last year in amongst the craziness of New Zealand Fashion Week, I had forgotten what my favourite pieces were (as so happens when you view collections six months before they are due in store and in quick sucession). When the invitation to attend the Wellington store’s winter launch appeared, the chance to stroll down memory lane and rediscover my favourites, and find some new gems, was welcome.
Zambesi is one of those labels that is best appreciated up close. What appears to be plain shirting fabric is, in fact, a very fine mesh; or a print is turns out to be something else upon closer inspection. With the models rocking some looks from the collection, it was a joy to rediscover those well turned-out and brilliantly cut coats and jackets, tailored in fine wools and pieced together with wax-finish leathers. There were the beautiful brocades and jacquard prints featured on pants and dresses, the gorgeous knitwear, and one of my favourite standout prints of the season, the chequerboard print in butter yellow and ink navy.
Stand-outs from the small showing in store were: the lace and knit dress—a beautiful, tight, sleeved dress with almost lace crochet detailing with tiny sequin embellishments, the perfect day-to-night outfit; and the black sheer silk shift dress with bandage-like side detailing and fringe work. The movement when the model walked was exquisite and very on trend with the flapper-esque feel to it all.
From the menswear range, everything, from the military-style coats to the sharply tailored Slimane-like suiting, was very slick and super-stylish. The chequerboard pattern shirt is a must for winter, crafted in beautiful almost lace-like fabric. Also on the must-haves, one of the many coats that are in the collection: my favourite was the double-breasted wool coat with piece leather sleeves—cut with a surgeon’s scalpel this is a classic that will never date.
The hair for the show had a very cool vibe to it—a mix of dishevelled chic, a wet look mixed with dry rough-and-tumble—directed by Buoy creative director Michael Beel. It was the perfect touch to the collection.
Zambesi’s winter collection is in store now.—Sopheak Seng, Fashion and Beauty Editor
Amid the bustling of holiday traffic, a layover, and no time for tea, I took a moment to speak with prominent talent, Yasemen Hussein. The London-based artist and creative all-star designs exceptional artworks that are both captivating to the fine art tenderfoot as well as any artistic mastermind. As I found a quiet space nestled in a corner of the airport, a few of Hussein’s designs came to mind: from the beautifully sculpted golden shield commissioned for Will.i.am (right) to the Marie Antoinette metal wig with antlers emitting from it called, Diana, exhibited at the Museum of London in 2010, which she also categorizes as one of her proudest pieces.
Hussein’s art has intrepid layers. Whether fine-tuned in an extravagant coiled headdress or in the sparkling of Swarovski Elements (e.g. over 25,000 lavish crystals she used to create an outfit for Katy Perry’s American Idol performance of the single, ‘E.T.’ [below]), Hussein’s pieces speak for themselves!
Outside the creative world, many people may not ponder in detail about the artist or designer behind such avant-garde works that a stage performer might wear. Some may even think it to be entirely the vision of a marketing team or performer themselves. Yet, however wonderful the end result is executed, it does start with an artist’s eye and most certainly one that can take on a mighty challenge transcending the intangible or conventional methods of design.
Every designer has a process of development, perhaps a special moment when they are entirely in the zone of their body of work. For Hussein, an alumna from the Penland School of Crafts, getting in that zone means being fully open to experiment without limitations.
‘I came from a strict working class Turkish–Cypriot immigrant family where I was expected to live the norm of marriage and children. The UK gave me grounding and a true understanding of the importance of research and development. Living in the US gave me the time and experience to understand … to do anything I wanted without creative boundaries,’ said Hussein.
Clothing has the ability to create an image, displaying expressions of one’s mood or style. Mere shoe choice can even make or break an outfit’s buoyancy! Then, there are forms of wearable art that need no special introduction. It’s the one-of-a-kind bells and whistles: the statement pieces, timeless accessories, and other fashioning elements that fairly garner a worthy showcase all on their own. Hussein’s designs are just that!
With an eye for structure, an appetite for the bold and underlining æsthetic of sculpture, her art merges the love of working with diverse materials such as metal, glass, and clay. She somehow transforms the initial vision into a forward-thinking wonderland.
‘I secretly love the smell of metal when it’s been heated up to a cherry red and the sound it makes when I quench it in water,’ confessed Hussein. But, don’t place too much of a label on her artistic style, she’s a designer who is awe-inspired by a multitude of things. ‘I don’t really think about it or guide myself towards something, I just do it. My style is what I gravitate to, whatever has influenced me,’ said the designer.
So, what advice would a celebrated and very down-to-earth designer give to aspiring artists? ‘You really do have to love what you do. There really is no winning formula, you have to create your own. Unfortunately it’s not always down to talent. I hate to say it, but a whole chunk is a business mind, patience, and timing,’ said Hussein.
Needless to say, this was one layover with a chock-full of inspiration that I will not forget!
You may catch more of Hussein’s (headwear) pieces currently being showcased in the must-see Head On exhibition at Fashion Space Gallery in London. She joins a roster of designers, including catwalk looks by Donna Karan, Gareth Pugh, and A. F. Vandevorst, as well as millinery works of Stephan Jones and Philip Treacy, amongst many others. The exhibition will run through March 23, 2013.
For more information visit www.yasemenhussein.com.—Tamara Madison
Earlier today, New York editor Joseph Ungoco was at Carmen Marc Valvo, from where he tweeted: ‘Black on black is the new black’. The designer took inspiration from Edgar Allan Poe and a bit of rock and roll. And it showed: Valvo was taken by black for winter, but contrasted it with ivory, grape, merlot and cassis. It was the perfect show, too, for a cold day: a black trench coat opened the collection, and stunning eveningwear with just enough tension between rock chick and elegance, but always remaining within good taste. We loved the wool and embroidered gowns, the corsetry, panelling, and ruffles.
Cesar Galindo didn’t shy away from colour for his Czar label, with pastels, red, gold, silver, grey, chocolate, blue and purple, while he was happy for his autumn–winter 2013–14 customer to show a bit of skin, with halter dresses, lavish gowns, and body-hugging dresses. But volume and asymmetry also played their parts in the collection. You can tell Galindo had fun with the collection. He also collaborated with taxidermy artist Beth Beverly on the hats—and knows where the birds come from (they died of natural causes).
Noon by Noor (above) played it safe with winter colours of navies, greys and burgundies, brightened up with the odd splash of red. Floral prints also featured. Pant suits, cardigan and skirt ensembles, long coats, floor-length dresses and capes gave plenty of staples for buyers to consider. Joseph’s summary: ‘Noon by Noor brings signature eastern sophistication to daytime.’
At Nautica, Sir Ernest Shackleton was the inspiration, with greys, blues and yellows lifting the mood. We saw wonderful anoraks, parkas, bomber jackets and coats—plus hoodies, which seem to be emerging as a trend over the last two days. In line with the Nautica buyer, we saw well made cardigans and sweaters as well, with well styled layering through the show—quite appropriate during the cold New York day.
Above The beanie is back, caught backstage at BCBG Max Azria.
Beyond the unofficial start of New York Fashion Week at a Russian consulate event (see our Facebook page, where Stephen Ciuccoli has previewed some images), Nicholas K kicked off the fall–winter 2013–14 ready-to-wear collections at Lincoln Center.
Nicholas K took an Arctic theme, with layers reflecting icebergs and landscapes, with knits, leathers and silks, in shades of beige, taupe and black, and colours in between. Volume is back in for New York, with hoodies and parkas and even beanies adding to the luxe winter look from Nicholas and Christopher Kunz.
Richard Chai contrasted his silhouettes—there was volume in moderation, with double-breasted jackets and military tailoring, while there were pencil skirts that stayed close to the figure. The minimalist military look extended to the dark green palette, though there were dashes of pink, purple and lavender.
BCBG Max Azria, one of our favourites, also brought back the beanie for winter, but it was more vertical length driving Max and Lubov Azria’s look for fall. Inspired by Ä°stanbul’s architecture and gypsies, the label used layering to good effect, but on thigh-high boots, maxi-shirts, tunic sweaters and long vests.
Tadashi Shoji, another label that regularly ranks as a Lucire favourite, showed loosely fitted dresses with the hemline at the floor, and long sleeves, showing that length is in for his vision of autumn–winter 2013–14. His inspiration of pre-revolution Russia is glamorous and romantic, with rich burgundy and blue shades, and bright white representing icy winters. Lucire’s live player can be found on our home page, and below. You can catch the shows as they happen.
As I found a quiet space nestled in a corner of the airport, a few of Hussein’s designs came to mind: from the beautifully sculpted golden shield commissioned for Will.i.am (right) to the Marie Antoinette metal wig with antlers emitting from it called, Diana, exhibited at the Museum of London in 2010, which she also categorizes as one of her proudest pieces.
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