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Lucire: Fashion
the circuit


Mackenzie Jones The spring collection went beyond a fashion show: it was theatre

A bright spring in Vancouver

continued

Mackenzie Jones
Mackenzie Jones went beyond constructing a catwalk experience, transplanting a mobile theatre in the midst of the showcase. Music from Florence and the Machine blared its way across the audience and the models exhibited the same amount of gusto prancing down the catwalk. The styling was something akin to an updated version of Neanderthal-wear and included ornamental mammoth and deer husks perched precariously on various extremities of models’ limbs. Both men and women inhabited the spotlight, performing a sequence of scenes of broken but intense emotions of love, with flailing bodies and lurching motions. Fox fur in creams and subdued oranges played a significant role in the collection’s designs alongside heavy riveting down side seams of trousers and dresses. Carefully placed dramatic black beadwork was sewn into the framework of harnesses alongside additional decorations of fresh and dead flowers.

 

Mattea Goldstein
Asymmetric cuts were a stand-out feature, proliferating itself throughout Mattea Goldstein’s collection. There were delicately placed pin-tucks alongside the hem and necklines, creating quite a beautiful drape with the heavy silks. Colours were subdued with a lot of focus on the tonal differences of pink, caramel and off-whites.

 

Nicole Barron
Summer wear is enough to encapsulate the spirit of Nicole Barron’s collection, full of floral and brightly screened silks, and cottons and linens in shades of lavender, blush pink and golden orange. Necklines were made deep, paired with a bare back, making you seem overexposed at times but a great combination of short, mid- and full-length separates were cautiously put together.

 


Nicole Courchaine

Nicole Courchaine’s impetus to develop this line was a desire to see better-fitted swimwear on women. Her bikinis were feminine and sexy, to the extreme, to the point of appearing crude in some cases, though she used luxurious fabrics and adopted trends such as colour blocking and metallics.

Parisa Jamshidian
Elegance and sophistication seem to be the cornerstone of this designer’s collection with very clean finishes in feminine silk and brocades, reminiscent of tapestry derived from the Elizabethan era. A very feminine collection playing upon flouncy proportions.

 

Peter Nguyen
Peter Nguyen’s collection was perhaps the most distinguished of the night with evidence of strong considerations on proportion and fit. The palette contained muted hues of camel and browns landscaping the dominant black, eschewing the current trends of bright colours.

 

Wilber Teilez
Volume was clearly a priority with Wilber Teilez’s recent offerings, with a playful accentuation of bodily forms (right). Skirts were made bulbous, akin to Dior’s New Look silhouette. A comical shirt made of black heavy cotton harked back to Teilez’s career objective of working with the Cirque du Soleil. Colours on either extreme of the spectrum were hastily combined to add a notable contrast, but the whole collection felt lacklustre.

 


Day 3

Temna Fialka
Victoriana and tribal references combined together to create a mystical aura enveloping the collection at Temna Fialka. Models sauntered down the catwalk adorned with deer antlers, glass beadwork, fox fur and cuffs etched with imagery of Pagan gods, with panelled leather, heavy embroidery and hand-painted silks.

 

Mortar and Pestle Apparel
Colour blocking and contrasting hues formed the foundation of the Mortar and Pestle Apparel showcase. Soft alpaca and mohair knits, stretch cottons and light silks produced a very comfortable mix of easily matched and worn separates, making them perfect for jaunts out of town. The main accessories of note: a selection of bright, multicoloured geometric tribal printed clutches.

 

Angel Eye
Beautiful dresses seem a speciality for Angel Eye, with a strong collection produced aimed at the youth market. Floral, geometric and animal silks and cottons were given a large dosage of attention, made into simple silhouettes with scooped necklines and free-flowing hems.

 

D. W.
The D. W. show was a complete departure from the comparatively tasteful showcasings offered at VFW. It begun with singer Peter Breeze performing ‘Vandeux’, whilst leading models on to the catwalk. What followed was the first onslaught of comical styling and behaviour. Gaudy frayed denim vests were styled with black tights or shorts that were slayed with metal studs, spike epaulettes and colourfully embroidered back panels. Hair was teased and heavily back-combed and tactfully placed masking tapes preserved the models’ dignity. This tasteless endeavour continued with a series of new models lurching into sight, blindfolded with mouths and chins smeared in some kind of charcoal metallic paint. The entire show lacked a distinctive direction.


Shilmel Zagvar Design Center
A strong direction of concept was clearly evident with the latest offerings from Shilmel Zagvar Design Center. An alternative playful and more sensual appeal has been applied to the traditional forms of the power suit with deep-cut necklines attached to high-structured collars and expressive shoulders. Various muted chequered patterns and soft leather offered a playful yet sophisticated element. These were paired with tightly conforming skirts and trousers. Utilitarian finishes like the zipper and trim-work were intentionally exposed.

 

Farida Lalji
Farida Lalji’s latest offerings heralded the traditional Mughlai women’s formal attire, with elements that closely parallel its traditional forms. Rich jewel tones continue to be mixed with deep blues and purples with ornate trim detailing, offering a strong sense of eastern opulence. Billowing gowns and structured vests are offered in a variety of sumptuous fabrics of silk, georgette, chiffon, brocade and velvet.

 


Karlinha Jewellery

Colours reminiscent of the western orient punctuate the collections of Karlinha Jewellery’s latest collection, expressing strongly the young designers’ æsthetic of cultural appropriation. Her travels have clearly translated into her pieces which hold a number of precious stones found in specific regions of the globe. Although designed beautifully and in a timeless form, the collection potentially lacks mainstream appeal.

 

Eva Chen
Eva Chen’s Black Swan collection showcased fashion staples rehashed into slightly more exuberant and varied forms. A continuation of her 2010 offerings, the skirt-suit has been given a more feminine direction with her careful applications of delicate decals: trim, lace, feathers combined with well structured mesh jacket forms. Feather fasteners served as head-pieces, perpetuating the prim and proper images the clothes evoked. Gentle fluting and feather decals along hemlines allowed for subtle and, in some cases, strong contrasting visuals. Overall, a well resolved outcome. •


Mattea Goldstein; Nicole Barron


Parisa Jamshidian; Peter Nguyen


Temna Fialka; Angel Eye


Mortar & Pestle Apparel


D. W.


Shilmel Zagvar Design Center; Eva Chen


Farida Lalji

 

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photographed by Maurice Luckett/Fashion Aviator and Anna-Priska Hübsch

 

 

 

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