Friday night was a largely theatrical evening. Experimental artist and designer Christabel (of Christabel Couture) performed “To Be a Man”, a cross-dressing striptease that challenged the idea of sexual bifurcation. The five minute piece followed his transformation from a man in a suit to a pregnant woman to a cockstrap wearing, garden sheer wielding, almost self-castrating androgynous character.
Inspired by the Russian avant garde movements of the early 20th century, Heidi Ackerman’s third collection for FAT – Construct (This) – explored her ongoing obsession with futurism and architecture.
Her sustainable fashion line often incorporates exaggerated elements, but she never veers too far from a classic silhouette. She’s edgy, but not too costumey.
I loved her metalwork designs and how she incorporated both jewellery and millinery techniques. The head fin above conjured aquatic fantasies, while the one below was from Arthurian legend.
There were so many influences evident in the lineup, and yet there was a strong sense cohesion. Another strong collection, Heidi.
Sans Soucie presented a beautifully made collection of not so interesting dresses. Every garment was handmade with reconstructed hosiery – patchwork stitched to create texture and pattern – but the cuts were boring and she recycled the same aesthetic as always. I was, however, impressed with her model choices, because it’s about time that bigger beauties got more catwalk time.
Cristina Sabaiduc of Romandin used an array of interesting industrial materials to create a sophisticated and forward thinking collection. Several of her pieces had a base structure made out of plastic netting, shown above as it was used to create a more structured alternative to lace.
Only after the show, when I got a chance to touch this dress, did I realize that it was made of layered rubber paint.
Here, Cristina used the same netting as above, but she wove long strips of fabric through the openings to create a beautiful material.
Though the most creative piece was by far the morphing dress. The a-line, maxi silk piece had an innner lining of magnets that stuck to the magnets on the tight, strapless dress that was worn underneath.
The versatility of this piece was brilliant. Depending on how you arranged the magnets, it could be long, short, assymetrical, rouched, whatever!
Asphyxia by Alexandra De Francesco drew inspiration as well as materials from the Victorian Era. Her work incorporated a melange of organic and reclaimed materials: hand-spun thread, hand-dyed fabric, vintage lace and beadwork as well as recycled fur and leather.
I know that De Francesco is all over the goth influences, but why did the last model have to mouth bleed all over her pretty bridal piece?! It makes me queasy to think about how much work went into that sand painting of a dress.
In Bitu was a largely performative collection that included breakdancing, costume changes and dance numbers.
One outfit was taken off by the gentlemen to reveal a mini underneath.
Two nyphs danced across the stage to the sound of a wavering digerydoo and held their ground against an unexpected hunter.
Then came the ocean creatures, complete with blinking antennae.
Then there was a little fluff . . .
a sexy buff . . .
and finally a beautiful bird of death, trailing behind her a collapsed black parachute.
My sister Jordana came along for the evening and even sat with me in the photography pit during the shows. It’s funny because we wore almost identical outfits, even down to the vintage lace gloves, and it wasn’t intentional. Fashion Magazine took a picture of us after the night’s events.
