Scandinavian House, New York
February 8th, 2008
Text: J. Ecochard
New Yorker by way of Denmark, Camilla Staerk and her Fall 2008 collection lived up to the accolades heaped on her by Gen Art (and its Fashion Fund that co-sponsored the show), Top Shop’s New Generation Award, loads of editorial ink, and A-listers who wear her garb… and probably paid for it too.
Staerk’s 2007 and Spring 2008 collections showed deft use of bright textiles and polished austere outfits… befitting a native from Hamlet’s brooding abode. This collection’s sophisticated lineup, amped up with vibrant white and red colors, balanced by enchanting blue-ish greens and ash greys, was truly a creative, and no doubt-commercial leap forward.
THE LOCALE:
Park Avenue’s multi-stored glass sheath Scandinavian House -is emblematic of clean, modern architectural design and was a good choice, venue-wise for Staerk’s runway romps. The shows were staged several times to accommodate fans and press temporarily under lock down at the nearby Sean Comb’s Cipriani’s held runway soirée.
Flutes of bubbling Moet&Chandon greeted the crowds. Plus an upstairs airy event space, tricked out with copious pours of Belvedere Vodka cocktails and a coat check room- ensured a well–lubricated, hands free audience.
THE INSPIRATION:
The looks coined “Black Bride Of The Moon” tapped the “strength and mystery” of the abstract expressionist sculpture, Louise Nevelson.
This legend’s “dark and textural” works (namely her charcoal black assemblages and monumental sharp angled pieces) gracefully seeped into Staerk’s mindset…as seen in glistening black, and graphic black and white prints of the close fitting helmets/head scarves and fedoras by the West 18th Street NYC Milliner, Ellen Christine, a bold black, fringe-y leather belt and thick wool scarves… and dynamic fabric choices of merino knits, malleable leather, and coated silk punched up with metallic, lace and rubber attributes.
The deeply rimmed kohl eyes of the models- by Londoner Pep Gay of Streeters- were also a direct nod to the Nevelson’s stark physicality. As Nevelson herself observed:
“Every time I put on clothes, I’m creating a picture.”
THE COLLECTION:
Twenty-three looks strolled the catwalk. All were winners but we were particularly drawn to simply elegant deep scooped neck, dark grey lace patterned tank dress layered over black jersey (Look # 20) and the upscale ensemble of Look #4: a thick strikingly fringed charcoal wool scarf paired with a biker style dark teal green leather jacket-its turned lapels revealing a jaunty black lining -over side pocketed, high waist white wool trousers.
Plush black leather, belted harem pants with big side knots (Look 13) and an end of show, shiny coated silk sleeveless, two front slit wedding gown, with a softly cascading black lace bottom half-were also striking.
CONCLUSION
Retailers should come a calling.
Images Courtesy of Gen Art, ARTnews, Don Ashby,Louise Nevelson Foundation
February 8th, 2008
Text: J. Ecochard
New Yorker by way of Denmark, Camilla Staerk and her Fall 2008 collection lived up to the accolades heaped on her by Gen Art (and its Fashion Fund that co-sponsored the show), Top Shop’s New Generation Award, loads of editorial ink, and A-listers who wear her garb… and probably paid for it too.
Staerk’s 2007 and Spring 2008 collections showed deft use of bright textiles and polished austere outfits… befitting a native from Hamlet’s brooding abode. This collection’s sophisticated lineup, amped up with vibrant white and red colors, balanced by enchanting blue-ish greens and ash greys, was truly a creative, and no doubt-commercial leap forward.
THE LOCALE:
Park Avenue’s multi-stored glass sheath Scandinavian House -is emblematic of clean, modern architectural design and was a good choice, venue-wise for Staerk’s runway romps. The shows were staged several times to accommodate fans and press temporarily under lock down at the nearby Sean Comb’s Cipriani’s held runway soirée.
Flutes of bubbling Moet&Chandon greeted the crowds. Plus an upstairs airy event space, tricked out with copious pours of Belvedere Vodka cocktails and a coat check room- ensured a well–lubricated, hands free audience.
THE INSPIRATION:
The looks coined “Black Bride Of The Moon” tapped the “strength and mystery” of the abstract expressionist sculpture, Louise Nevelson.
This legend’s “dark and textural” works (namely her charcoal black assemblages and monumental sharp angled pieces) gracefully seeped into Staerk’s mindset…as seen in glistening black, and graphic black and white prints of the close fitting helmets/head scarves and fedoras by the West 18th Street NYC Milliner, Ellen Christine, a bold black, fringe-y leather belt and thick wool scarves… and dynamic fabric choices of merino knits, malleable leather, and coated silk punched up with metallic, lace and rubber attributes.
The deeply rimmed kohl eyes of the models- by Londoner Pep Gay of Streeters- were also a direct nod to the Nevelson’s stark physicality. As Nevelson herself observed:
“Every time I put on clothes, I’m creating a picture.”
THE COLLECTION:
Twenty-three looks strolled the catwalk. All were winners but we were particularly drawn to simply elegant deep scooped neck, dark grey lace patterned tank dress layered over black jersey (Look # 20) and the upscale ensemble of Look #4: a thick strikingly fringed charcoal wool scarf paired with a biker style dark teal green leather jacket-its turned lapels revealing a jaunty black lining -over side pocketed, high waist white wool trousers.
Plush black leather, belted harem pants with big side knots (Look 13) and an end of show, shiny coated silk sleeveless, two front slit wedding gown, with a softly cascading black lace bottom half-were also striking.
CONCLUSION
Retailers should come a calling.
Images Courtesy of Gen Art, ARTnews, Don Ashby,Louise Nevelson Foundation