Mary Katrantzou ... spring 2017 London

My first inclination is that the collections sort of echoes how the designer started with photoentric prints except this time around it is all about Greek amphorae and ancient Greek art combined with, of all things, Op art. Do I get it? Nope, but then again there is the awkward styling which making it all look like an Arab souk of eras. All of that adds up to one helluva a dizzying experience.

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The shapes are simple enough but then there is this detour into these highly ornamented “things” which are extravagantly expensive and actually, not very attractive. The best of the collection are the pieces which veer toward the simple, if simplicity can be applied to any of it. Over designed and over worked are not components of beauty rather they look like trying too hard to be different. I’m not sure how the printed chain maille got in there but then again when you design with no particular sales strategy, you throw it all against the wall to see what sticks.

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In the end, I think there are some beautiful pieces but they are outnumbered if not outweighed by what some might call monstrosities of design or a waste of time and effort. I can’t say I hated this collection nor I can say I loved it by any stretch of the imagination. One would think that a few palette cleansers would have gone a long way here instead of going into overdrive! Does visual gluttony ring a bell?

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Mary Katrantzou Fall 2016 LFW

Call it Valentino on LSD and steroids! Call it visual overload! Call it dizzying!

 

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While I am a big fan of mixing patterns and offering clothes that are designed rather than me too clothes, it is difficult not say that this collection is almost blinding when there is no single “palette cleanser” within a collection. There is actually a concept called too much or possibly... restraint! Mary Katrantzou proves that hands down she is all about more is better but sadly not to her benefit!

 

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There was so much of everything from color to patterns to design flourishes to unneeded accessories to silhouettes and message and especially to the “Sophie” shrug! BTW that refers to the character of Sophie, played by Jennifer Coolidge on the TV program 2 Broke Girls. The element seems to appear as not only a shrug but as a waist/hip flourish as well. Everyone knows I am a fan of leopard print but jeez it all gets very psychedelic if not psychotropic in her hands. One might even say there are references to Ziggy Stardust but hell who knows. I think the reference to Valentino is very apparent but in her hands, it loses the delicacy that Valentino manages to retain and achieve despite the heaps of embellishments.

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Someone might have suggested that a few pieces should have been a bit more tame or just not so over the top as it gets to the point of “what she couldn’t wear she carried!” a few less patterned pieces and even a solid color might have helped this along because after a while they all start to look the same. 

 

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BTW, if one wanted to be less than kind, one might say it looks as if Mary went mad on a cutting room floor picking up scraps and challenging herself to assemble a garment!

 

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PS... Someone please explain to me the kerchiefs aka babushkas, the little shirt/polo dresses and various other oddities about this collection?? What happened to those beautifully architectural dresses? Why Prada-size and reference so many others?

NYC fashion; what's in store..London Fall 2012 ... Mary Katrantzou