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Mary Katrantzou: The Courage of Invention A phobia for empty space versus streamlined modernism – or, as Mary Katrantzou put it in an artistic framework to her show: ‘Horror Vacui’, referring to the Victorians’ rejection of minimalism in favour of abundant decoration in costume and interior design.  Picture credit: Indigital The show that the Greek-born designer sent out on a runway of tooth-gum-pink foam was a tour de force. It showed Mary’s courageous urge for innovation and how far she has come since she offered digitally-printed teacups at the start of the 21st-century pattern revolution. In an extraordinary vault between technology and art, the designer produced clothes that can truly be labelled original in both art and craft.  Picture credit: Indigital This was achieved from different angles. First came the utter plainness of sculpted tops moulded to the breast with a seamless fabric normally used to smooth car roofs. The result was uber-minimalism, with the only movement coming from the kick at the hem of a skirt. Then there were bodices in a technical version of flocking, contrasted with traditional lace in the skirt.  Picture credit: Indigital That hemline movement, sometimes looking forced, appeared continuously, but often just peeping out from under a knee-length coat. The baroque music of Handel’s ‘Gloria Eterna’, sung by Greek musical legend Nana Mouskouri, added an opulent flourish. Last season, Katrantzou created a collection that was equally exceptional by concentrating on nature. But this Autumn/Winter 2015 show that seemed like a battle between minimal and maxi was something else: a truly original concept expressed vigorously in the language of clothes. (责任编辑：admin) |