Trelise Cooper

Above: Lace was prominent at Trelise Cooper; q.v. our Auckland coverage from October. Above right: Jenny Bannister.
 

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   A feature of the show was the presence of Australian designer, Toni Maticevski, who had that morning been presented the prestigious New Designer award. Maticevski exhibited a small, five-outfit collection demonstrating some interesting techniques in the manipulation of the textural surface of sheer fabrics. Combining these techniques with distinctive miniskirts and boléro-style jackets, Maticevski created a individual silhouette which, although perhaps not particularly practical for winter, was distinct from the majority of winter 2002 collections seen throughout the week.
   Stealing the show, however, was the presence of New Zealand’s Zambesi. The ‘Birds of Paradox’ collection once again showed designer Liz Findlay’s ability to create garments that are both innovative and expressive yet practical. The collection was set to Patti Smith’s ‘Boy Cried Wolf’ and ‘One Voice’, creating a mood of funk and attitude in pleasing contrast to that preferred by the other designers. Findlay’s collection evidenced a strong element of linear bisection featuring vertical centre front fastenings divided by wide, low-slung belts and waistbands, as well as an interesting, almost religious, component of long droopy sleeves and stiff cuffs.
   Findlay’s talents became more evident with the inclusion of an intensely draped georgette cowl sleeve complying not only with the seasonal trend of “leg of mutton”-style sleeves, but also utilized unique production techniques, in a seemingly non-conventional fabric.
   Gwendolynne Burkin presented her label Gwendolynne in a show entitled Vespers at the breathtaking St Michael’s Church. The rationale for the selection of the off-site venue was to encompass the historical theme around which Burkin based her winter 2002 collection. The show was presented in a somewhat theatrical manner, including hymns, harpists and interpretive, liturgical dancers. Burkin used the Georgian, Edwardian and Victorian eras as inspiration for her collection, incorporating laces, crochets and velvets. Individually, the garments displayed Burkin’s strong understanding of the fundamentals of drape with each fabric utilized to best effect. What was essentially a challenging combination of themes was linked together harmoniously within the range.
   The influence of the referenced eras was shown by black crocheted lace extensions protruding from the shoulder, high-collared shirts and bustle-like detailing on both skirts and trouser, knickerbockers and “puffed” hot pants, which provided a refreshing change from the more typical hipster straight-leg trousers seen on the commercial catwalks. Vespers also displayed the millinery talents of Richard Nylon, who not only reaffirmed the dominant presence of hats this season, but introduced a distinguished yet provocative mood to the collection.

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