Emilia Wickstead, Nicholas Kirkwood, Mary Katrantzou, Roksanda Ilcicis & Peter Pilotto are the 2013 nominees!
Emilia Wickstead
"in the notes at her show today about Marella Agnelli, Gloria Guinness, C. Z. Guest, and Babe Paley being "society swans." Good god! That's the kind of thing to make a person want to grab a scythe and have a go at members of the .0001 percent.
And yet. Even the dabbling Marxist must admit that Wickstead is a very good designer. The clothes she showed this season—her second doing ready-to-wear—were atavistically polite, but they were sneaky, too. Wickstead knows how to cut the decorousness with a weird touch, like the splash of chartreuse on a crisp white dress, or the exaggerated flare of a peplum. "Maya Singer
Great Escape | Winter in Tuscany
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The Girl: The designer Emilia Wickstead
What to Wear: The Row’s white cotton suits with ladylike charms; lots of tops from Wickstead’s debut collection; polished accessories like Manolo Blahnik kitten heels and a garden-print handbag from Dolce and Gabbana.
What to Do: “Eating Italian food in Villa La Foce’s gorgeous garden, long walks and dinners in the open air are favorite things to do,” Wickstead says. “And drinking too much red wine from the region.”
Related: Danielle Kosann tells T where she’s going and what she’s bringing with her on her Great Escape.
Nicholas Kirkwood
"We’re all neck-deep in Spring 2013 reviews and ready to wear, but let’s take a minute to take in some stunning shoes shall we? Nicholas Kirkwood’s Spring
2013 collection images have been released and they are delectable! From
two-tone appliqué detailed pumps to elaphe snake flats with geometric
heels, his latest designs are just what the style doctor ordered."
Brights are on the menu with aqua, strawberry, and orange shades at play. Colorblocking is here to stay for the season and Kirkwood gives the trend a fun spin by juxtaposing textures including snakeskin, suede, and mirror and patent leather. Kirkwood uplifts classic patent leather flats with neon cap toes and on-trend point toe pumps with two-tone ankle straps and colored heels." From "Shoe Lust" by FashionbombDaily by Faith
Valerio Mezzanotti for The New York Times
T plucks the best shoes right off the runway.
All of the models in designer Erdem Moralioglu’s candy-colored show earlier today wore versions of this heavy-footed T-strap platform. In many cases they came covered in motifs that mirrored those on the dresses they were paired with. Here, in a look that was a lot less matchy-matchy than most, a pale-blue lace toe with a solid metallic lower half accompanied a see-through shift dress embellished with neon pink and orange beads, and worn over modest white underpinnings."
Mary Katrantzou
Designer: Mary Katrantzou
Date and Location: Tuesday, Feb. 22, Topshop Show Space, 1 Old Billingsgate Walk, 16 Lower Thames Street, EC3R 6DX
Photos: slide show
Date and Location: Tuesday, Feb. 22, Institute of Designers, Pall Mall, SW1Y 5ED
Photos: slide show
Brights are on the menu with aqua, strawberry, and orange shades at play. Colorblocking is here to stay for the season and Kirkwood gives the trend a fun spin by juxtaposing textures including snakeskin, suede, and mirror and patent leather. Kirkwood uplifts classic patent leather flats with neon cap toes and on-trend point toe pumps with two-tone ankle straps and colored heels." From "Shoe Lust" by FashionbombDaily by Faith
The Daily Shoe | Nicholas Kirkwood for Erdem
Valerio Mezzanotti for The New York TimesAll of the models in designer Erdem Moralioglu’s candy-colored show earlier today wore versions of this heavy-footed T-strap platform. In many cases they came covered in motifs that mirrored those on the dresses they were paired with. Here, in a look that was a lot less matchy-matchy than most, a pale-blue lace toe with a solid metallic lower half accompanied a see-through shift dress embellished with neon pink and orange beads, and worn over modest white underpinnings."
Mary Katrantzou
"It’s the first day of fashion season on the Continent and already the first reviews are trickling in, but somehow the final reports are just being filed from across the Channel, so it’s back to London Town for Scorecard. And thank goodness for that, because it was on the fourth and final day of a series of shows that were uncustomarily uniformly all about heritage values that the weird and wonderful youth culture came out. Mary Katrantzou, who last season found a room of her own with molded lampshade skirts, screenprinted antiques on stretchy knits and built a new lighter house. Baci — see you in Milan!"Related
Fall 2011 Fashion Week
Designer: Mary Katrantzou
Date and Location: Tuesday, Feb. 22, Topshop Show Space, 1 Old Billingsgate Walk, 16 Lower Thames Street, EC3R 6DX
Photos: slide show
- “Young Greek designer Mary Katrantzou, who gained new fans last season with her vibrant prints, dished up another show full of rich, intricate patterns of flowers, birds, fish and other colorful creatures.” (AP)
- “In a word… wow.” (Catwalk Queen)
- “Literally a feast for the eyes.” (The Daily Telegraph)
- “From such great heights… Mary jumped even higher.” (ELLEuk.com)
- “The beauty of these garments is unmistakable. But are they wearable? Yes, some. And this season more than usual, given her extensive use of stretchy knits.” (Fashionista)
- “Très atmospheric and arty. Extra high five to Mary for the referencing of Fabergé eggs in her show notes.” (The Guardian)
- “The bold creations and strong shapes — driven, as the designer is, by patterns — have an urban warrior feel that combines with an almost medieval quality for a unique modernity.” (Heard on the Runway)
- “Mary Katrantzou’s morning show had [McQueen's] hallmark, with digitally manipulated prints on architectural pieces.” (The Independent)
- “Rising designers always have a ‘breakthrough’ moment — and this was the season when the designer’s sculptural vision created a collection of startling beauty.” (International Herald Tribune)
- “The ‘more fluid’ her ‘more real’ got, the more you were left in the same jaw-dropped state of irreality that her Spring show had induced.” (Style.com)
- “All the most original ideas are the ones you’d rule out as even possible contenders for desirability — like making clothes in the shapes and patterns of Chinese porcelain, Fabergé eggs, Meissen, coromandel screens … for goodness sake.” (Vogue.com)
- “Showed us that there’s still another side of Katranzou we haven’t seen yet. We continue to look forward to seeing more.” (Vogue.com UK)
- “Wearable objets d’art.” (WWD
Roksanda Ilincic
Designer: Roksanda IlincicDate and Location: Tuesday, Feb. 22, Institute of Designers, Pall Mall, SW1Y 5ED
Photos: slide show
- “With romantic French love songs, a chandeliered palatial showspace, and a series of silken, jewel-toned evening gowns, Ilincic brought a distinctive touch of old world glamour to the catwalk.” (AP)
- “Despite its glossy facade, I was a bit befuddled by it all.” (Fashionista)
- “As Ms. Ilincic continues to expand into daywear (she even went so far as a sweatshirt this season, albeit a cashmere one) from the cocktail dresses that launched her career, she maintains a consistent femininity.” (Heard on the Runway)
- “Roksanda Ilincic has no sense of irony — just a certain idea of beauty that encompasses glamour, color and haute decoration.” (International Herald Tribune)
- “It felt here as if a layer of the designer’s famed glamour had been stripped away, and a new sportif one smoothed on.” (Style.com)
- “Ilincic obligingly showed short dresses with draped V-necks, which, perhaps with a blazer thrown on top, would work for lunch, cocktails, or a personal appearance, though something would have to be done about the splits in the skirts.” (Vogue.com)
- “Simply glamorous, elegant clothes that didn’t strictly pertain to a strong theme other than the obvious: of making women look fabulous.” (Vogue.com UK)
- “The designer’s signature glamorous satin gowns assumed a starring role, but Ilincic gave her collection a laid-back edge by working some lower-octane wool pieces into the mix, too.” (WWD)
Peter Pilotto
In the Studio | Peter Pilotto
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This collection and its 80-something custom prints were inspired by a trip the designers took to Nepal and India. “It’s cliché to love the colors of India, but they’re amazing,” Pilotto said. While the fabrics were all sourced in Italy, and the knits in Belgium (from the same factory the two used as students when they met at Antwerp’s Royal Academy), all the beadwork was done in India. When they went to visit in August, much of the collection was already under way; the designers crossed the Ganges every morning to check out the craftsmanship happening at the site where their beadwork was being done. They checked on its compatibility with base fabrics (sporty mesh, for example), colors (they’re obsessed with cat-eye beads in yellow, blue and green) and special trimmings. For the latter, oversize ring sequins were made and the classic Indian mirrors were turned into squares with black stitch overlay. While Pilotto wanted to make references to the traditional antique circle mirrors of Indian textiles, he felt a more geometric shape was better suited to his label. Meanwhile, somewhere in London there was a studio working late into the evening. “So many things happen at the same time,” De Vos said of the dynamic process.
This season was also a continuation of the precollection that was shown earlier this year in Florence. In fact, the designers see the precollection and spring as one, each a half of a whole. It was the Pitti presentation — all those pop graphics within the 15th-century Palazzo Borghese — that inspired De Vos and Pilotto to further mine illuminated manuscripts and the striped pillars of the Gothic Duomo in Siena, which they visited together for inspiration. “The mix of the Palazzo and the modernity of our prints. It’s quite a clash, but it works well together,” Pilotto said. “There’s a conversation with Christopher and me to try and improve our formula, but we try not to have a formula — that’s boring. We’re too young for that.” This past Sunday night in their studio, there was talk of silhouette, sketches, toiles and Jonny Lu, the wunderkind who created a special software called Print Generator exclusive to the team. Upstairs, there were mini, origami-like 3-D dresses folded and tacked to the wall. On the inspiration board: Baroque-looking ceramic pink flower earrings, Japanese masks and the slightest fluo-green thread. The stylist Tom van Dorpe was fitting the models — all classic, timeless beauties — women, he explained, who work well with the more futuristic clothes. There were no alien-looking or quirky looks; rather, they were “Biblical” women with their hair parted and pulled back as in a Renaissance painting.
One model was wearing a dress with a black, almost Nehru collar and matching black ruffles at the elbow-length sleeves. A square print embellished with side-by-side panels of the special ring sequins had been worked into an orange and blue lattice. The skirt has an illustrated Firenze flourish cutting through another box pattern. The hem is a different print of lavender, turquoise and orange diamonds. The beading takes the longest to complete, which is why the day before the show, it was still being perfected in-house. “Quite like couture,” Pilotto said, and then ran off somewhere."
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