Erdem; What’s Going On?

“I was thinking about a woman studying botany in an insular way in one of those conservatories; and then about her going out all over the world, to all those exotic places. Then she got lost or something,” Erdem Moralioglu laughed, as he explained the concept behind his Spring/Summer collection. “So it becomes a bit unhinged at the end.”

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Indeed, the whole show felt like a beautiful rainforest adventure; the set itself was a forest, dark and imposing, whilst leaf green patterns bloomed across dresses and feathers sprung from skirts and coats.

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Erdem drew inspiration from Marianne North, a biologist and botanical artist who traveled the world during Queen Victoria’s reign. That slightly Gothic aesthetic that we associate with the Victorians, as well as that famous air of propriety, made an appearance in the high collars and very low hemlines, as well as in the linear patterns which mirrored the structure of nineteenth century glasshouses

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A collaboration with Nicholas Kirkwood is to thank for the sandals that snaked up and down legs, and the black oxfords which evoked that Victorian sensibility whilst also bringing the mysteriously beautiful pieces into the modern urban jungle.

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Lavish and enchanting, feathers and flowers tumbled densely over the long, lean silhouettes, whilst pretty layers of chiffon floated and glided around the models’ bodies and along the catwalk.

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Tweed also made an appearance in the form of dresses and separates, with a grey sleeveless top over floral chiffon providing a particularly nice balance between sartorial structure and the chaos of the wild.

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Skin was porcelain Edwardian perfection, with hair parted in the centre and pulled back in an altogether rather conservative manner; only serving to keep the focus firnly on the clothes themselves. This was Erdem’s unique brand of dark, mysterious beauty at its most wild and wonderful; and it was brilliant.

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