4 posts tagged "Toni Maticevski"
Style.com’s Katharine K. Zarrella reports from Mercedes-Benz Fashion Week Australia.
If there’s one thing I’ve come to realize during my short time in Sydney, it’s that a healthy chunk of Australian life is about having a good time, hitting the beach, and looking great while doing it—and I think that’s gorgeous. This is perhaps the only fashion week in my entire career in which the tanning credits have been included in the show notes. If that doesn’t speak to Sydney’s fun-in-the-sun mentality, I don’t know what does.
Also indicative of Sydney-siders’ enviable lifestyles? We Are Handsome’s Spring ’14 outing. Held at the oh-so-green Paddington Reservoir Gardens, the show boasted swimwear covered with splashy prints (a bikini top that looked like watermelon slices was particularly clever), feather headdresses, dancing models, and oversize baubles in the shapes of wild animals and refreshing fruits. The stars of the show, however—coming in just ahead of a few shirtless male models who strutted with surfboards under their arms—were two shockingly calm young ladies who strolled down the catwalk with live pythons coiled around their torsos. “We have a snake print, so it made sense,” said designer Katinka Somers of the exotic accessory. “We tried to get a tiger, but we couldn’t do it,” added her husband and codesigner Jeremy Somers, gesturing to a swimsuit emblazoned with the cat.
Later on, designer Toni Maticevski presented a more elegant—albeit no less lively—side of Sydney style in his impressive lineup of sculpted, kicky skirts, dresses, and jackets. Crafted almost entirely of a non-crease neoprene-like material, the gray, black, white, and acid orange collection had a thoroughly modern sensibility, yet still nodded back to the classics. One tangerine jacket, for instance, recalled Cristobal Balenciaga’s cocoon coat. Meanwhile, full frocks referenced fifties silhouettes, and mesh overlays brought a sporty modesty to skin-baring looks. Also notable was the designer’s theme: orchids. The glossy runway was covered in a shadowy floral print, as was a range of his high-volume wares. “I thought, What if we fed orchids glycerin and weird-looking chemicals, and then shot them into space?” explained the designer backstage. He later added, “It’s important not to shy away from creativity.” No doubt, Maticevski embraced it here. And it paid off.
Tuesday’s runways wrapped with Aussie favorite Christopher Esber’s nautical collection. Big gold buttons on jackets and skirts really drove home Esber’s “women on the water” vibe, as did playful little tags that were embroidered with models’ initials. Ribbed knits—an Esber signature—were among the best pieces in the show. A skirt of that variety was embellished with beading, and a nineties-esque cream spaghetti strap slipdress, paired with a white tube bra, embodied the laid-back sensuality that seems key to the Down Under aesthetic. “Australian fashion overall has a sense of ease and sexuality to it,” explained Esber postshow. He experimented with the latter for Spring with a series of über-short wool-silk-viscose blend bloomers, which were styled with matching conservative jackets. The overall effect of these pastel ensembles was fifties cadet-cum-pinup. As for his future plans, Esber, who has gained international acclaim after winning the Aussie leg of the 2013 International Woolmark Prize, offered that broadening his global presence is currently his main focus.
Day two ended—as all good days should—with a party. This season, Romance Was Born, the cerebral, vivacious range designed by Anna Plunkett and Luke Sales, skipped the runway in favor of a collaborative exhibition with artist Rebecca Baumann—a fitting move, considering the Sydney Biennale is on view next door to the MBFWA site. Dubbed Reflective Glory, the show, which debuted with a raucous dance party, focused on wearable objects of celebration. Shimmering, painstakingly embellished sequined frocks were intended to stir up nostalgia in the viewer, reminding them of unforgettable fetes or nights out on the town. No look epitomized that concept more than a vintage Madonna T-shirt that the designers covered in clear sequins and transformed into a dress via metallic streamers. The garment was made with the same shirt that Sales wore when he first met Plunkett at a house party years ago.
Displayed hanging from the ceiling, Romance Was Born’s wares looked to be dancing with Baumann’s installation of color and light—the space was a veritable kaleidoscope of energy and pizzazz. “We fly our own flag,” explained Plunkett during a preview. “We’ve always just done what we wanted and have tried not to overthink things. Our clothes are more about a feeling.” As for this particular collection, she offered, “We want the consumer to engage with it on an emotional level. It’s not just about wanting to look hot or sexy.”
As I mentioned before, Day Two’s shows magnified Sydney’s sense of fun. More important, however, they proved that there are some very serious talents here who work very hard—they just happen to have a ripping time while doing it.
Australia fashion week wrapped in Sydney today, and Style.com’s special projects editor, Maya Singer, has been reporting back on the most exciting shows. To view our complete Australia fashion week coverage, click here.
Fashion week in Sydney concluded this afternoon with a show by Zambesi (left), one of the major brands from New Zealand. Even if you hadn’t known that Zambesi was based in Auckland, the clothes on the runway made it altogether clear that a non-Australian sensibility was at work. To put it plainly, Zambesi designers Elisabeth Findlay and Dayne Johnston have an affection for the eccentric and borderline frumpy that the local Sydney designers do not share at all. The men’s looks, designed by Johnston, were relatively straightforward—vaguely thuggish tailoring, plus the odd flourish like a pair of tailored wool shortalls. The womenswear, from Findlay, had a bit more range, with crispy and rather clinical white looks ebbing into more challenging pieces, such as long narrow dresses covered with fringe tassels. For both sexes, the sharpest looks were the ones in a tartan organza; very on-trend, that.
Zambesi aren’t the only carpetbaggers on the Australian fashion scene. Jewelry designer Estelle Dévé hails from the South of France, originally, but her brand is based in Melbourne, and in the five years since she launched, it has emerged as something of a cult phenomenon. Dévé’s signature pieces are plated rings with a rough-hewn look; this season, she’s elevated her aesthetic quite a bit, drawing on her French heritage for a bit of soigné, and sourcing influence from the surrealists. Standout pieces in the new collection include statement necklaces with egg-shaped crystal pendants half-covered in a dissolving layer of silver.
Dévé adapted several pieces from the new collection for a capsule range of bracelets and necklaces made in collaboration with Camilla and Marc (left). Those pieces were on the Camilla and Marc catwalk at the very start of Australian Fashion Week; so too was the jewelry work of Ryan Storer, whose dangerous-looking ear pieces adorned all the models at the show. Storey’s brand is ultra-new”—his very small debut collection is shipping to stores now, with a selection of the ear pieces due to arrive at Browns in London at any moment.
Think “Los Angeles fashion” and Rodarte and Band of Outsiders may spring to mind (Ed Hardy we’ll save for another day). But come awards season, the city is transformed into an international melting pot of designers and fashions, which is exactly what was on display at the Recording Academy’s seventh annual Grammy Style Studio this week. In anticipation of this Sunday’s Grammy Awards, designers from around the world gathered to showcase their red carpet-ready wares. Handbags from Beirut, statement jewels from Sydney, and gowns from just about everywhere else had one thing in common: a healthy dose of camera-ready bling, whether in the form of python, feathers, sequins, or Swarovski crystals. Aussie designer Toni Maticevski, for one, packed a number of ornate cocktail dresses for his jaunt across the Pacific. “It’s the Grammys, so I think stars are more likely to go with shorter and more playful styles,” he said.
Stars and their stylists milled through the offerings, and all seemed to agree. Johnny Wujeck, Katy Perry’s stylist, certainly did (pictured). “The more sparkle the better,” Wujeck told us. “People always take more chances in music; the Grammys are a good place to have fun, not to be so conservative and safe.” Perry, he went on, still loves glitz, but “we’ve weaned away from the fruity, fifties pinup to beautiful yet sexy…feminine but a little bit bitchy.” How will that translate to the red carpet this time around? “We have three favorites contending. One of them is over-the-top and I love it; it’s sexy, tight, sheer, and amazing, like something she’d wear for a performance,” Wujeck said, just before heading to Perry’s house to plead his case for the latter. We’ll be watching Sunday to see if he gets his way.
Be it a matter of draping, twisting, or pinching, Toni Maticevski’s creations invariably involve a tremendous attention to detail, a process the Australian-born designer claims may in fact be more organic than one might think. “It kind of develops on the stand,” Maticevski explained of his third New York showing, inspired in part by Irving Penn’s photo essay collaboration with Diana Vreeland, Inventive Paris Clothes 1909-1939. “It’s basically free form, just kind of letting fabric do what it does and then just kind of messing with it. People say ‘cut it this way,’ but it just sort of evolves out of nothing.” Not being especially artistically inclined ourselves, we weren’t about to argue, but something tells us that there was more to the designer’s craft than he was letting on. After a bit of prodding Maticevski finally admitted that constructing his favorite piece from the show (ours too), a pink and orange-hued “stained glass window” silk top, was indeed laborious. “I really love a lot of the petal details but that one kind of took forever—’cause it’s kind of, like, individually bound. Have you seen it? Up close?” We hadn’t, but we’ll take his word for it.