We had not covered Joaquim Verdú before,
but this veteran of design, involved heavily in film and tv, took
his celebrity knowledge to a lovely collection featuring pleats
and knitwear on the Barcelona catwalks. Verdú counts Victoria
Abril, Carmen Maura, Paz Vega and Silva Marsó among his supporters.
Colour-wise, Verdú did not narrow himself much (though the
red and black at the beginning, interpreted with zig-zags, had us
worried for a short time). Rich red wine colours and turquoise heightened
the palette, and while the zig-zags became a signature look for
the season, we favoured his wraps, use of leather and jacquard.
Zazo & Brull’s Diary of a Madman collection
saw collaboration with the Chilean artist Paula Camaré, who provided
drawings that the duo screen-printed. Colours here were more earthy,
though there was a preponderance of black, too. What we did enjoy
was Zazo & Brull’s use of the midriff, whether exposed or bound
by corsetry—not unlike a straightjacket effect.
Ivonne Cárdenas’s Lawhite label went for
inventiveness, featuring coats with removable sleeves and what she
called ‘separable cocktail dresses.’ Her eveningwear was more classical,
contrasting light fabrics and heavy, woollen cloth.
Mercedes de Miguel, known as a pioneer
among Basque designers, was inspired by the work of Gustav Klimt
in one of the more “classical” collections of the week. By that,
we mean that de Miguel has taken a more traditional inspiration
and kept a reasonably clear link between her source and her execution.
It was clear that the colours (in particular, with reds, oranges,
violets and golds) and the textures (from her use of wool and silk)
were Klimt-inspired, as were the frills and trim. Her sketches showed
an attention to detail, too, realized particularly well for this
Jota Más Ge is one of Spain’s most widely
known names, with 400 outlets domestically. Its daywear used fur
to some extent (mainly on trim), but eveningwear was where Juana
Ruiz and Garbiñe Urdampilleta shone. The gowns flowed as with many
this season, but the pair used more original colours, with deep
purples and shiny browns. Even their shorter cocktail wear was optimistic
Toypes, despite its size, remains one of
our favourites, showing that big companies can innovate, too. Toypes’
33 line for autumn–winter carried an Agatha Christie theme, based
around Murder on the Orient Express. The company was quite
open in saying that it was not the novel, but the film with Lauren
Bacall and Ingrid Bergman, and Albert Finney as Poirot. Hence, the
1930s coats, golf trousers, bias-cut dresses and capes took the
audience back to the between-the-wars era. Fur, both real and faux,
appeared on cuffs, collars, stoles and capes. As with last year’s
Audrey Hepburn-inspired collection, Toypes tended to follow the
source’s silhouettes but not its colours, with brighter, shinier
golds and silvers.
This showed Toypes marketing genius in using
a reasonably well knownbut not too well knowncinematic
reference that can extend to a greater part of the population.
Jack Yan is founding publisher of Lucire.
LEFT: Zazo & Brull. ABOVE:
Lawhite. LEFT AND BELOW LEFT: Mercedes
de Miguel. BELOW: Jota Más
Ge. BOTTOM: Toypes 33.
the full story with more images from Joma García i
Gisbert in the June 2005 issue of Lucire.
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