June 03, 2014 London
And yet Erdem was also insisting that Resort is the most straightforward of collections for him: "It's where I really get an opportunity to explore who my woman is, by day, by night." That duality was exemplified in one dress that, coming, was a frothy mille-feuille of frayed white organza, and, going, was black crepe with a sturdy zip running up its spine. And it was also present in the feminine versus masculine aspect of a bib-front white lace dress, the tuxedo jackets that the designer casually draped over almost everything, and the footwear he favored. When you pair a dress in extravagantly ruffled gazar with brogues by Nicholas Kirkwood, oddness ensues.
Erdem's pursuit of oddness—or "wrongness"—in his clothes would hardly bear mentioning again if it weren't for the fact that it yielded such major dividends this time round. His career seems to have developed a rhythm—one collection proposes precise, almost prissy perfection (the Eisenhower chic of this outing's navy jacquard dress and matching coat being one example), and the next takes it to pieces. Like the decoupaged guipure here. Or the casual iconoclasm of the eveningwear. A brocade silk gown was in a shade of lime so washed out that it could have spent hours in the rinse cycle. Another dress was made from lace that mimicked sporty Airtex. Odd, but refreshingly so, because it was so unlikely. And that's Erdem at his best.