Tuesday, May 3, 2011

Day 1 - Rosemount Australian Fashion Week

Arnsdorf Spring 2011

Moving to New York has been a coming of age for Jade Sarita Arnott, head of her label Arnsdorf. The crescendo of the New York skyline reminscient of The Great Gatsby, the antiquated systems and architecture of the city and the surrounding neighbourhoods have openly expressed a more contemplative time for her to design. Her last collection titled, "Tremors" saw the amalgamation of geological topologies and deep crevasses which in turn jolted the embedded layers of mineral colour translated into her collection. 

As cavernous as she has been within her New York studio, Jade gallantly whisked both a tremor and pure colour paliette. At the wrist cuffing of a seafoam blue shawl, revealed a mille-feuille containing bright orange, one even infused with pastel pink, violet purple and cream yellow. Halter and off-shoulder silk pieces were undulating and underneath of one waist skirt, had revealed a patterning that American artist Liza Lou whose relief glass-beading work informed her Spring 2011 collection. 

The emotional feeling constantly attached to Arnsdorf is the continual refinement of how a domestic woman chooses to compose herself into the public arena. The Australian woman needn't be wearing height-defying pumps, it can be the simplest flat (in her show one shown in gold) or a brown leather criss-cross sandal affixed with the most diaphaneous waist-trouser and sleeveless blouse. The lightness and delicacy of the Arnsdorf collection showed less is more.

Karla Spetic Spring 2011

The virginie white of a spread collar buttoned blouse is entranced by the tribal geometric shapes of a knee-length skirt. That was the vibrancy and exuberance of a demure designer Karla Spetic. As described directly after her show backstage, Karla conversed that glass, ceramics and furniture embodied her Spring collection. It is the tactile and indelible mark by the fragility of these transluent and non-transulent objects which gravitate developed geometric shapes that appear on the fabric surface to dance and morph. In a sequence of halter-neck silk chiffon dresses came also in the variation of a collared peplum dress in burnt umber. 

Gail Sorronda Spring 2011

In an ideal post-modern world, her dark angels deftly titled The Illuminati consume the earth. They are bounded by this world, not by a superbeing. They have the gift of telepathy and the contortion of mental thoughts. They want to wear something that favours strength and agility (inflated pleats across arms), razorback collar jackets and bell-sleeved white dresses. She is both enigmatic and beguiling and Gail Sorronda's minimalist heritage strikes a hypnotic tale of femme fatales.

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