Illustration by Emma Rockett, from her graduate work
So on Sunday it was down to the beautifully named Anastasia Arden-Maccabee to open the Edinburgh College of Art show on Sunday. Her fresh colour palette of a variety of pastel colours brought welcome respite from a lot of monochrome collections at Graduate Fashion Week.
Models were draped in lightweight fabrics that skimmed the knee and gave shapely silhouettes. Intricate flaps and folds had created the illusion of origami.
Making more literal use of Origami techniques was Eliza Borkowska, whose models appeared like futuristic sirens. Defining creases and thick lines shaped short dresses into artistic creations, of which Martin Margiela could even put his name to.
Charlotte Helyar’s collection was one of the most innovative and enjoyable of the week – enjoyable because it was hilarious to watch everybody scrabble for their 3D glasses as her first model appeared.
She’d made use of 3D print techniques, see – and applied them to floor-length dresses and floaty, flattering tops.
Illustration by Charlotte Helyar, from her graduate work
Emma Rockett’s collection screamed English heritage, another theme we’ve seen a lot of this week. Emma had executed it with panache. Traditional tailoring techniques were employed for candy-stripe blazers and high-waisted skirts, accessorised with up-side-down Boater hats and vibrant pink stockings.
Illustration by Emma Rockett, from her graduate work
It was Lisa Leissos who presented the most demure, sophisticated collection of this bunch. Her all-red collection of maxi-dresses and knitwear had real flare, and deeper reds were used for some classic knitwear. Sweeping lines gave the collection a very modern feel.
Illustration by Lisa Leissos, from her graduate work
A refreshing change came in the form of Alistair Nimmo’s mermaid-like goddesses. Flamenco-style fringing on skirt waists and hems created this desired effect, but a palette of nude, aqua and navy kept it contemporary and grown-up. Bustiers and jackets with circles at the chest also gave the collection a sexy edge.
Alexander White’s sweetheart necklines and tulip skirts also oozed sex appeal, while harsh tailored trouser suits contrasted this. Alexander has used an interesting technique for skirts, which had an anatomical look – God knows what it was, but I suspect it may have been organza or wool (!) weaved together in organic forms.
I also loved Isabel Wong’s layered organza jackets and dresses with olive green and nude colours; Louise Manson’s bohemian-inspired collection with synched waists, blouson sleeves and tiny knitted caps; and Louise Holgrove’s exaggerated paper-bag waists and sumptuous, heavy materials.
It was to Qi Zhang to close the show, and while I really liked her modernist collection, I didn’t think it was the best. Models wore lampshade-shaped helmets which were just about translucent enough for them to see, and her patchwork ensembles inspired by her mother made great use of a variety of materials.
While Edinburgh may not have had an outrageous show-stopper, it had technique, innovation and originality aplenty.
Splendid!
All photographs by Matt Bramford
Tags:
3D, Alexander White, Alistair Nimmo, Anastasia Arden-Maccabee, Boater hats, Charlotte Helyar, Earls Court, Edinburgh College of Art, Eliza Borkowska, Emma Rockett, English Heritage, Flamenco, Graduate Fashion Week 2010, Isabel Wong, knitwear, Lisa Leissos, london, Martin Margiela, menswear, Organza, origami, Qi Zhang, Womenswear
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