Saturday, November 30, 2013

Meadham Kirchhoff Spring 2014

I feel that as far as keeping up to date with current affairs and stuff I have been an utter FAILURE and disappointment to you, dear reader, but in all fairness I was kept pretty busy with lots of assignments and stressed out of my mind last semester and could not find the time to discuss ringlets of tangerine hair, mustard yellow stockings and little nods to 1950s squeaky toys in the finer details and accessories of the most recent Meadham Kirchhoff collection. As you will probably know fashion geniuses Edward Meadham and Benjamin Kirchhoff have also collaborated with Topshop in a 80-piece extravaganza of epic proportions, but that shall be discussed in due course. 

For know I would rather focus my attentions on their effort for Spring 2014, or as I would like to call it, the clothing Courtney Love would wear if she ruled 20th Century French Versailles. Proper paid fashion journalists are referring to it as 'a cheerfully ahistorical mash-up', so I think my description came pretty damn close. The clothes themselves reference their earlier Spring 2014 collection with similar cues towards hair held in tight ringlet curls and subtle hues of blush but the noticeable change is the replacement of pastel blue, pink and dull baroque gold with Wednesday Adams black, red and mustard yellow. There is again an incredible attention to detail when it comes to the ornate ribbons surrounding the custom made shoes and slippers, as well as luxuriously long evening gloves and collared blouses held together with a single ribbon.

I'm not much of a hat person when it comes to my own personal style because usually I am too lazy or my head is slightly too big to feel comfortable, but I was intrigued by the amount of detail on the brims and underside of the hats. The lace combining the best of crocheted doilies with haute couture and the whole thing left me feeling very nostalgic for Jean Paul Gaultier's S/S 2007 without referencing Greek mythology or high priestesses. I've tried a few times to wear my hats tilted at such an angle and feel it's impossible in practical terms, but it kind of matches the dead roses scattered across the stage and adds contrasting sinister tones to what would otherwise be a very sweet but plain and one-dimensional collection. But it's not that, there is depth and the sum is greater than its constituent parts. 

The collection is toughened by the use of intersecting black leather with dainty tulle, as well as a bold colour palette which lends a tough edginess and sense of empowerment to the collection. I thought the leather jackets were a nice touch when worn with Peter Pan collar dresses and seemed to make the corsets and bodice dresses somehow more warrior-like, and the models wearing each outfit more multifaceted rather than a cardboard character. What really stood out to me, as always, was the intricate laser cut shapes and patterns imprinted on thin sheets of lace and emphasized with black embroidery stitches- only possible with modern techniques and 21st century fabrics making the historic references ephemeral. The heart-breaking clincher is that no manufacturer will be able to replicate this level of technique, so it will be eons before I ever get to wear such delicate dresses myself but I remain vigilant and on the prowl for my opportunity to stage my own summer in Versailles fashion shoot, complete with ornate fan. Someday. 

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