The always covetable Karen Walker opened the parade to the tune of the Velvet Underground’s “Baby’s On Fire,” with a series of 1930s inspired tea dresses. Girlish florals, rose pink, and deep wine, these elegant creations conjured images of lawn parties, high tea and picnics in the park. But Walker’s trademark eccentricity showed through, with models wearing thick-framed geek glasses (not unlike those shown at Luella’s Spring 2008, ready to wear collection) or Willy Wonka-inspired round specs. Sleek jodhpurs were paired with flirty blouses, and the trenchcoat - seen in so many collections this season - was worn with dark sunglasses and a knotted scarf.
New Zealand label NOM*d channelled the 1990s grunge movement in their XXI Birthday Party collection, with Doc Marten boots, unfinished edges and oversized garments featured. Using a palette of predominantly black, with the occasional flash of white or royal blue, NOM*d showcased a layered, deconstructed look that was equal parts street-kid and punk. A typical outfit was thick leggings worn with combat-esque boots, over which two dresses of different lengths were cinched in at the waist with a wide belt, and a long cardigan worn open over the top.
ANT!PODIUM presented a collection of understated luxury, evoking prep school glamour with a nautical edge. Sticking strictly to red, navy, grey, black and white, the label’s double-breasted shirt dresses and striped boyleg playsuits impressed with their clean lines and geometric shapes. Pussy bows added playful femininity to an otherwise pared-back collection. A lookbook of ANT!PODIUM’s collection can be viewed here.
As with NOM*d, layering was a key feature for Claude Maus. The predominantly black collection layered drop-crotch pants with slouchy knits, muted tartan and their signature leather jackets, with the occasional sheer dress for a touch of femininity. Both male and female models clad in Blundstone boots, the unlikely choice of footwear tempering the otherwise almost gothic aesthetic.
The most interesting offering of the night came from MATERIALBYPRODUCT. The collection featured silky dresses and draping tops worn with slim pants, the material being printed with the texture of woodgrain. In shades of grey, brown, black and white, the first half of the collection favoured a sombre palette to force attention to the delicacy of the print, while the second half of the collection used a lighter colour scheme of cream, tan, honey and pink. Most of the garments were panelled, with each section edged with a small dotted print, recalling traditional indigenous dot painting. Some pieces featured external pockets, heavy beading and decorative ribbons, the centrepiece of the collection being a stunning floor length dress in honey coloured woodgrain, with long, trailing ribbons in cream that flowed out behind the model like a train. This highly innovative collection cemented MATERBYPRODUCT’s status as a designer to watch.
Jessie Hill continued her love affair with pop culture with a collection inspired by 1980s songstress Kate Bush. Having previously explored Ridley Scott’s Blade Runner, Hill uses such sources as a jumping off point for her designs. The collection began with a feather-light chiffon dress in white, its voluminous sleeves and draping cut evoking the New Romantic era of the 1980s. Silky printed shifts followed, along with delicate cut-out jackets paired with zip-up leather opera gloves. The collection featured repeated motifs of moons and raindrops, which were scattered across sheer dresses, or sprinkled over the nape of cardigans. Wearing her influences on her sleeves, Hill presented oversized t-shirts emblazoned with the words KATE BUSH, as well as putting a model in a pointy dunce cap - straight out of Bush’s “Sat In Your Lap” video. A lookbook of Jessie Hill’s collection can be viewed here.
Cose Ipanema featuring Comme des Garçon opened with a menswear collection, which showcased a muted palette of black and grey, livened up with attention to texture and detail. Using fabrics such as velvet and corduroy, the label presented high-waisted, slouchy pants worn with t-shirt bisected with diagonal lines and a suit jacket trimmed with studs. An oversized velvet smoking jacket once again recalled the excesses of the 1980s, while a crisp white shirt worn with an asymmetrically sleeved jumper had a far more pared back look. The second half of the parade was dedicated to women’s wear, using the same sombre colours. Models wore white gauze over their faces, in a look that evoked both a surgical and a fencing mask, which coordinated with their sheer white leggings. Cose Ipanema layered sheer and opaque fabrics for a subtle peek-a-boo effect, adding just a hint of sexiness to their collection.
Closing the parade was New Zealand label Zambesi, whose collection explored the juxtaposition of textural opposites. Fabrics jarred with garment design to create unexpected combinations, such as a shiny silver PVC suit or a scarf made of leather slung over the front of a dress like a cowl. Zambesi accessorised their outfits with woollen armwarmers and Doc Marten boots, and livened up the mostly monochromatic palette with vivid blue and brown tartan. A particularly striking look saw a silver bustier dress paired with opaque black tights, woollen armwarmers and the ubiquitous Docs, while another dress utilised black on black fringing and a knife-pleat skirt for a look whose strength lay in the details.
For photographic coverage of the parade, click here.
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