Melbourne Spring Fashion Week
Designer Series

For more fashion musings, visit Alys’ blog.

Tuesday, August 31

From the Arnsdorf collection

It didn’t feel much like spring at the first runway show of Melbourne Spring Fashion Week on Tuesday night; the one thing everyone was wearing as they came up the red carpet to the Melbourne Town Hall was a light coating of drizzle.

But the gloomy weather was in contrast to the excited mood of the crowd, which, instead of jaded buyers and fashion scribes, consisted mostly of the general public – although just how ‘general’ you could label one who wears glitter dusted stilettos I’m not sure.

There was also the requisite raving homeless man adding a little spark to the mix, and keeping the ushers busy as they courteously engaged him in conversation while tactfully keeping him from bounding up the stairs into the building.

Once the doors were swung open the crowd was only kept waiting about 15 minutes, not long in the world of the runway show.

Opening to a thumping beat and a collective craning of heads was Melbourne-based label Arnsdorf. The collection, by designer Jade Sarita Arnott, featured skirts fashioned into cup-like geometric shapes that came to life in their own right, standing away from the body.

From the Gary Bigeni collection

Arnsdorf also set the tone for the evening, which was bashful nude tones, muted pastels, a generous handful of black and white and elegant prints.

Next up, Gary Begini’s outfits brought to mind images of Italian movie stars lounging in sun soaked cafes on the Riviera. There were lots of loose swinging pants teamed with sharp shouldered-jackets, a perfect grown-up way to combat the warmer weather.

Retail chain Assin presented designs from Flannel, Dhini and Lui Hon. Leather shirts – reminiscent of Celine’s fall 2010 ready-to-wear collection — and panels featured alongside suede and sheer fabrics that both demonstrated the models were not wearing bras while also posing a dilemma to any potential buyer as to whether they would throw away their modesty and follow suit, or try to select a bra that would prove complimentary. But then fashion has never been a friend of practicality.

Adding to the small but noticeable presence of utilitarian materials, leather also cropped up in Material By Product’s range, with knee-length skirts (reinforcing the global trend toward longer lengths and more modest styles) and trench coats bunched together with a belt at the waist. A two-second pose by the model was long-enough to appreciate the detail, with a line of tiny cut-out circles etched down the back of one of the jackets.

From the Kawaii collection

Alistair Trung’s collection was apparently inspired by space travel, with metallic knitted panels and soft moon-like greys.

Kawaii continued with the mature tone of the evening, sending out an off-white shirt-dress with a chunky collared sleeve. It was the perfect office outfit for the warmer season.

Another retailer represented was Alice Euphemia, which livened up the parade with sequins and some oh-so-rock-star over-the-knee boots by the latest name on everyones’ lips, Anna Plunkett and Luke Sales’ Romance Was Born.

Finally, Therese Rawsthorne capped things off, reiterating the trends towards leather, mature soft tailoring, flowy draping and clean cut minimal designs. Her blood red dress ended the night with a splash of welcome colour, a jolt of warmth for the crowd before we were left to brave the brisk spring night outside.

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Wednesday, September 1

You could tell things were getting serious on Wednesday night because the upper balcony seating was almost entirely full. Those few seats that were empty went almost unnoticed, except by those nearby who took the opportunity to nab an extra bottle of vitamin water and second fat copy of Marie Claire magazine (for the bathroom?) from the unclaimed goody bags. Most others were too busy checking out the crowd, which matched the runway in terms of captivating outfits and self-conscious posing.

From the Akira collection

The larger crowd had come to see collections from Australia’s more glittering designers, including household names Akira and Collette Dinnigan, the first Australian designer to show during the Paris ready to wear presentations.

There were certainly some formidable expectations hanging in the air, above the artfully constructed hairdos. But thankfully the designers met them with ease, sending out a range of outfits, from cocktail dresses to pantsuits, which drew appreciative noise from the stands.

The strongest and best deserved applause came for Akira‘s collection, beginning with a floor-grazing soft white strapless dress with embroidered blossoms of such detail they made you want to reach out and touch them. He was not afraid to venture beyond the season’s stalwart nude shades either, injecting invigorating orangey reds, purple and turquoise details. From the crowd’s reaction to the final billowing red purple and blue cape, you could tell the $30 ticket price was more than worth it. This is a man who knows how to perfectly balance simplicity and detail with head-turning results.

Collette Dinnigan stayed true to the nude trend, blinging it up with crystal-look gems (on a body-con mini-dress), glitter and silver-grey lace. A thin gauzy layer of accordion pleats on a few dresses added this season’s requisite flowing element.

Indeed, tonight was all about the dress — from the business-like purple digital print dresses at Lisa Ho, to the kaftans and loose, beachy-silhouettes presented in Megan Park’s vaguely bohemian range.

While lady-like style was strong, it was softened for the warmer weather with loose silhouettes that flowed and fluttered with each stride; denim might be the uniform of the masses, but it seems to have vanished entirely on the runway in favour of adult, elegant and seductive clothing.

From the Gwendolynne collection

Aurelio Costarella reinforcing the trend toward longer hemlines, leather and (fake) fur. Her first dress was a frothy vision of frills and bo-peep lace with a grown-up edge. And for those who have outgrown the nursery rhymes, there were leather mini-dresses with tufts of white frills for shoulders.

The flirty ruffles, lace and draping were repeated in Gwendolyn’s collection.

While Thurley threw some shorter dresses into the mix, the attention again was snapped up by a long number; a bright orange-red strapless dress with a cluster of blue stones paved around the waist.

Arthur G took a more sophisticated swing at things with a palette of whites and greys, including a suit and edgy leather dress with a trench-coat-style tie waist.

Another designer to venture away from the dress was Yeojin Bae, who sent out a coral pantsuit perfect for a summer meeting in a sun-drenched pavement cafe.

Closing the show was local boutique Christine who followed in the footsteps of Lisa Ho with clashing prints. The loose patterned satin pants brought to mind images of glamorous, over-the-top, Dynasty characters, plotting revenge and seductions with perfectly applied rouge. The sculptural hat accessories were also a nice hint that, yes, these clothes would look fabulous in the Birdcage come race season, as much of those seen during the night would.

. . . . .

Thursday, September 2

The red carpet was a little more worn, and the couple of photographers hanging around the entrance to the Melbourne Town Hall a little darker under the eyes by Thursday.

But the crowd striding up the stairs was still impeccably put together, each hair artfully placed for that ‘careless’ tousle, or teased into a 60s style Prada bouffant. A statement leopard print satin trench here, some comparatively demure black wet-look leggings there, and almost everywhere, touches of Sass & Bide’s latest tribal/boho designs.

From the Manning Cartel collection

Inside, things appear to be running to schedule. The requisite wait paved over by socialising on the runway. Regulars reaching straight for the vitamin water provided for each seat.

As for the clothes, it’s becoming easier to identify trends having taken in the week’s previous shows. There was more lace, this time in white, moth-eaten long-sleeved t-shirts and in black, fashioned into one long-sleeved body-hugging dress that reached to the ankles and featured an eye-catching bib-like metallic necklace by Manning Cartel; in detailing on peasant-style white dresses by Nevenka, and again in white in another floor-skimming dress by Arabella Ramsey. There were also plenty more prints, flesh tones and sheer fabrics and, thanks to Bettina Liano, bike shorts, with cut-out panel details. I could almost sense someone in the front row Twittering Lindsay Lohan about those.

Life With Bird featured some soft pink and white print dresses with black panel details fashioned into sexy, negligee-esque cuts. A standout was a black and white geometric print pantsuit. It may not hold huge appeal in terms of wearability, but it was a definite head-turner and achingly ‘now’. The design duo, Bridget McCall (Alice McCall’s sister) and Nicholas Van Messner , also turned out a leather tank top with black leggings, but then, it could have been a leather-look tank due to the four-second glimpse I snatched between front row heads.

From the Alice McCall collection

Alice McCall took us to a wholesome place, a place with tea and scones and rock candy and floral couches. Only, these couches had been robbed of their stiff upholstery, the material fashioned into a thigh strapless dress with a princess neckline and a puffed-out miniskirt. She also delved into onesies with a tank-topped playsuit featuring embroidered details in a light fabric that bounced with the model’s strut. McCall also had me yearning for hot summer days on the court with her white, sporty body-con dresses and crop-top, miniskirt combos. Gym class was there again in an equally brazen leotard and halter top, which, thinking about it, could have been another leotard, the bottom being hidden by some loose, high-waisted pants.

To compliment the lace, Manning Cartel was all sex and glamour, sending out a shimmering blinged-up silver suit that sat close to the body. There was a sequence of short, tight dresses and longer hemlines with cut out panels that looked like straps encircling the side of the models torso.

Nicolangela changed the pace, bringing it back to flowing shapes with pleats, tiers and a gorgeous grey, halter-topped floor skimming dress in layers of sheer, organza-like, material.

Leopold gave the male models a few moments in the spotlight, wearing shorts and blazers in lighter summery shades and, of course, a couple of check shirts.

Denim reared its sleepy head for the first time this week, not surprisingly at Bettina Liano – she of the ubiquitous jeans. She offered a tight, short denim dress with thin, black trim details and some tiny denim shorts for those with rock solid confidence only. The collection also featured a handful of cute peach-hued frilly dresses in girly cuts and sheer floaty fabrics.

Nevenka layered clashing prints (purple and yellow) in sheer fabrics, offering fashionistas some comparatively demure, sophisticated outfits for summer (not everyone wants to flaunt it with nipple-tape after all). There were also satiny pants under dresses, breathing new life into a 90s trend. A short black dress with a mesh top and tiered ruffle skirt dress drew an,“I like that one,” and mental shopping-list tick from a nearby viewer.

Showing its organic, eco-conscious range, was Gormon. The local brand built on its line of fashion forward pants with peach high-waisted trousers. There was also a belted calve length circle skirt, another hot trend brought into the ‘now’ by the international Autumn/Winter shows (Prada, Dries Van Noten among others) and fashionistas’ current obsession with 50s, Mad Men style. Gormon also sent out this season’s must have now, will regret later item: the clog. The brand’s polka dots were there in a frilly tiered singlet top and short dress with huge, bouncing, wing-like shoulders.

Obus had a grown-up beachy vibe with floral prints, a belted knee-length dress and a relaxed brown suit with pants, rolled at the cuff, and a light short-sleeved jacket.

Toward the end of the night, Arabella Ramsey brought things back into the soo-chic-right-now with light, grey-green faded digital prints. Lace was also scattered throughout; at the bottom of a skirt that swung just above the knee, in a white body-hugging mini and in a cat-suit style black dress. There was a ladylike emphasis on puffed shoulders in some sheer blouses and a nod to longer hemlines with a stunning, rich navy skirt that flowed around the model as she walked.

The show closed with Wayne Cooper, who stuck to his signature short cocktail dresses. There were many wide, wavy frill details; around the waist and flouncing over the shoulder. However, he did offer some longer, negligee-style dresses among the more body-con tight numbers, strapless and one-shouldered designs.

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Friday, September 3

Fashion devotees were shoulder-to-shoulder watching the final show of Melbourne Spring Fashion Week’s designer series on Friday night, handbags jammed between legs and under benches.

This show was all about the host city. “It’s all edgy, Melbourne designers tonight,” one fashion watcher mused.

Sandwiched between a fashion writer and one of the week’s dressers, I received a running commentary on what each model was like up close. Eg. “She’s so amazing,” in reference to the gangly, pixie faced Kate Peck.

But this was only a minor distraction from the clothes. Streetwear label Alpha60 was first out with a series of loose long T-shirts and dresses with simple, minimalistic cuts in chic satin-like material. The collection was tied together by a modern grey digital chain print that was used throughout the various outfits (men’s as well).  Many of the dresses featured artful draping details, the fabric enlivened with folds that played along the torso and up around the neckline.

Above featured a similar clean aesthetic, sending out crisp white shorts and a blazer featuring intricate cut out window-pane panels. There was also a deconstructed grey suit which looked like it had walked out of one of Melbourne’s laneways and, in a darker-grey, a tank-topped jumpsuit. This was not the first jumpsuit seen at fashion week by far. Heed my warning people: either prepare to jump into this trend feet first, arms an awkward second, or buy some dark glasses to obscure your face, so as not to offend the many jumpsuited-individuals with your disgusted expressions when they start popping up come spring.

From the Limedrop collection

Next up were Limedrop’s Clea Garrick and Nathan Price, who made their design nest in a Fitzroy warehouse after moving from their hometown in the land of the Crocodile Hunter — Darwin. Still, you wouldn’t have guessed at their country-roots from their modern fashion forward designs, the only hint perhaps being the scenic landscape images in the digital print men’s blazer and women’s tank top. There were some interestingly cut shirts; a loose button-down tank cut off wide at the shoulders, playing on the 80s top-heavy aesthetic, and falling to mid-thigh to create a train-like effect behind a higher-cut front. The designers also played with sheer materials, sending out a daring tights and singlet top combination and tight sleeveless dress, both with polka dots adding playfulness to the fragile material.

Tesla roused a cheer from the crowd before the first design was even seen. Out came a short black one-shouldered dress with a fat frill swinging over the shoulder and covering the upper arm. These giant frills that have been seen across many designs this week seem made for dancing, bouncing and swirling with the lightest movement. There were some cute shorts, cut in a more flattering length to mid thigh featuring super-lightweight blue denim and gold button details. The brand bolstered the nude trend as well, with a clean cut sleeveless dress and frilly sheer blouse. A black dress bookended the collection, this time a mini with long sleeves in a body hugging cut with a sheer scalloped back.

Jack London injected some colour into the menswear with mauve and purple blazers, purple pants, a rich velvet-look burgundy pant, and a black Bob Dylan-style suit with a gold glitter shimmer. Pure rock star.

From the Jack London collection

Fat layered light coloured (creamy white, chick yellow) tights under shorts for a youthful look. The schoolgirl look was also there in a fuzzy loose-knit baby blue jumper pulled on over a blouse. But the collection also had a sexy edge with a sheer striped long sleeve shirt and tights. The range was quite eclectic, also featuring military shoulder details on a nude shirt-dress and loose genie pants with a bra-like top tucked in, as well as the requisite satin digital print dress.

Claude Maus Denim stood out with a small androgynous collection. It was all thin loose knit grey wool with fraying details. A long minimally cut t-shirt, a singlet top, a jumper, a shirt with a curling cowl-neck. Tight black jeans worked quietly to let the knitwear speak for itself.

Trimapee also had a strong theme, with metal grid-patterned fringe details swinging down between layers and offsetting minimal cuts, colours and materials. The metallic armor poked out from behind a cropped jacket, was worked into a kind of dress by itself over black leggings and was layered over maxi-length sleeveless dresses in loose stretchy materials. The collection played with texture, using ruching on men’s knee length shorts, interspersed with different materials, and highlighted by stretches of plain white and black cotton.

Keeping with the minimalistic, modern styles, Carly Hunter closed the night, and the week. Her collection was based on a sheer white lace-style material featuring large polka dots. There was a loosely cut tank top over shorts, a sheer layer covering a long sleeved blouse with underwear-style pants underneath, another layer draped over a clean cut sleeveless dress that fell to mid-thigh and, for the more daring, a completely sheer long-sleeved dress. Hunter played with draping details on a simply cut sleeveless floor-length mustard-coloured dress, and again, in a shorter sleeveless light-grey satin dress.

After the heat of the runway lights, it was a surprise to find that it was raining outside the Melbourne Town Hall when the show ended. But still, it felt kind of fitting, being springtime in Melbourne after all.