Editorial Thoughts and Erdem

A editorial note of questionable necessity: I'm not sure if it's my mood or perhaps a separation in taste (doubtful), but the London shows this season have been a bit of a letdown. As of recently, I've been trying to stay away from shows I will be critical of and approaching my posting as a medium to express praise and celebration for the designers I love—exclusion is critical enough. Though I'm a young writer, I am desperate to find my niche. In the past I've approached the shows from a more journalistic standpoint, which allows for criticism à la Cathy Horyn. I would just rather not be the bad guy, a lable which Horyn fearlessly (and perhaps even proudly) adopts. In any case, there is more exploration to be had, so for now, I will turn to a show which I will happily herald.

A dark cloud hovered over the endlessly exuberant DNA of Erdem this season. That's not to say the collection suffered, nor was Erdem Moralioglu's signature style completely obscured. Instead, Moralioglu flirted with a bit darkness, which while unusual for him, was utterly successful. The inspiration was an artist's wife—perhaps an artist herself—whose part-time residence in a studio has left her dripping with paint and maybe even despair. Whether it be by her re-creation or happenstance, her clothes become an extension of her husband's work. I adore Tim Blanks' interpretation of Erdem's woman who "flies of the handle" (fantastic phrase), tears apart her partner's work, and resurrects it as her clothing. Hamish Bowles suggests the influence of Lee Krasner, Jackson Pollock's wife and fellow artist. Their relationship was captured in Ed Harris' Pollock, a film Erdem had seen and no doubt been inspired by. While the gloominess was a step into uncharted waters, the exhilarating prints and ladylike silhouettes were classic Erdem. A taste of the fifties, complete with gloves up to the elbow, melded with thigh-high slits for a more assertive sexuality. His love of feminine women persists, that much is clear. Whatever the inspiration may be, the results were beautiful in their essence and execution.

Kirsi Pyrhonen

Codie Young

Jessica Clarke

Beegee

Imogen Newton

Marique Schimmel

Kelsey Van Mook

Eliza Cummings

Tao Okamoto

Janice Alida

Alana Zimmer

Kirsi Pyrhonen


Photos via style.com

An editorial note of unquestionable necessity: Pollock is available to watch instantly on Netflix and it looks incredible (read: I need to watch it right now). It is now 11:55 and the film is 123 minutes long. Fuck.