Sunday, September 15, 2013

Marchesa Spring 2014 Runway Show

Looking back at what my blog was almost a year ago, I find it hard to believe that time has flown by so fast. It seems only yesterday that I was dreaming of making my voice heard on a blog, no matter how small. Something I saw to be pretty popular were my runway favorites. I, honestly, got bored with having to choose favorites from endless collections, so I decided to quit doing them. Also, it was around that time that I wanted to try and do outfit posts, so I decided to try and make my blog all about my own images, my own outfits, my own beauty looks, and I have only recently begun to expand back into fashion week photos, as well as street style snaps and trend reports. Nevertheless, here is my runway favorites brought back in a more exquisite, complete mode. Instead of choosing just a few snaps of certain runway looks, I'm doing the entire collection, (yes, the entire one) and also providing detailed shots of fabric, necklines, shoes, accessories, and more so as to truly see the beauty and splendor of this collection.

Keren Craig and Georgina Chapman really and truly outdid themselves creating this whimsical, detailed, showstopping collection. Not one detail was overlooked. “It was this idea of curiosity cases, full of birds and butterflies,” said Georgina Chapman before the Marchesa show, “an amalgamation of different things.” Curiosity cabinets, for the uninitiated, are those decorative glass boxes filled with woodland wonders from taxidermy insects to flowers and minerals. Chapman had one as a child. So her and Marchesa cofounder Keren Craig’s spring collection—a showcase, as ever, of elaborate evening and red-carpet looks—had an air of natural wonder to it.

A gold lace skirt, slim and below the knee, was adorned with 3-D florals made of ribbons hand-painted blue, and an ivory chiffon cocktail dress had lace butterflies fluttering across ruffled tiers. Models wore artfully straggly ostrich feather extensions in their hair and faded faux tattoos of butterflies on their shoulders, arms, and backs (courtesy of fashion’s favorite inkman Scott Campbell). The effect was a little like Rooney Mara playing a forest nymph. Pretty but with a slight punk-like edge.

Perhaps more wonderous, though, was Craig and Chapman’s near elimination of strict, structured corsetry. The designers wanted everything to feel easy (relatively speaking) and so they did away with any obvious scaffolding, forsaking constricting bodices—save for a few ribbons tied around the waist and under the bust—for looser silhouettes. Fabrics gently slipped along the body as opposed to clinging for dear life. Craig and Chapman went so laid-back as to even create their version of a T-shirt dress: a gorgeous, white Irish lace look with short sleeves, a long skirt, and ribbon tie closure at the back of the neck. 

There were some obvious boudoir influences as well, with lingerie detailing on some of the more slip-like numbers and wispy lace cardigans thrown over bralets, worn with big organza and tulle skirts. “We wanted to explore different things,” Chapman continued. “It’s more eclectic than ever.” If you ask me, the aspect that I really love? The delicate, lace up Louboutins. But honestly, you can't have one without the other, can't you?

This one gown must have taken hours, days, weeks to hand-bead—it was crafted completely of looped strings of bone-colored beads, like a mummy wrapped in luxury.

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