June 14, 2010 London
Moralioglu also wanted to emphasize seasonlessness and "occasionlessness." He saw everything—even the little summer shorts—making an easy transition from a lunch date to a night at the opera. As for his newly introduced overcoats, one style in black lace and another lavishly embroidered version (he called it Klimt) would elevate any outfit. But they also underscored that, versatility or not, there's always a sumptuously detailed precision to Moralioglu's proposals. That shirtdress, for instance, was hand-embroidered at cuff and bodice. A cotton lace tee had organza cuffs, a silk print shirt was over-embroidered with flowers, and a cocktail dress in royal blue silk twill came laboriously hand-worked with tiny packets of black beads. All were reminders that the Erdem woman is a rara avis, like a Hitchcock blonde. (Grace Kelly in Erdem? You know it makes sense.) His talent is to add real, sensual life to the idea, the truest testament to which might be the way the clothes take on so much dimension once they're fitted on a woman's body.