September 17, 2007 London
Of course, it's really much too premature to weight Erdem's budding trajectory with such analogies. His own focus was on his fabricsthe taffetas, silks, and weaves were all custom-made for him. The fan-pleating that fell away from a tiny "biker jacket" bodice or cascaded down the back of a trapeze dress was his way of "allowing the fabric to do what it wants to do." These swinging shapes were better ambassadors for the designer than some of the more fitted pieces or the harem pant silhouette (here, Erdem turned Eden, as in Barbara).
If the Mackintoshes were a winning holdover from seasons past, so were the prints, botanicals blown up and smudged on the computer until they looked familiar-yet-not. A full print dress fanning out from the tight little apex of a halter nudged the Erdem ethos up a notch in sophistication. At the same time, it highlighted the fact that Erdem's work, like that of many of his London peers, thrives in its own slightly surreal little bubble.