Holly Fulton deftly combined several disparate sources of inspiration for her sophisticated fall show.  

 

Dziga Vertov’s 1929 film “Man With A Movie Camera” drove a fascination with technology, seen in the stylized calculators and digital gadgetry bonded on to the baby blue coat that opened the show — and the cogs throughout.  

 

Fritz Lang’s “Metropolis,” from the same period, yielded a graphic exclamation-mark pattern; while a posed hand motif was culled from Fifties advertisements and Russian Constructivism.  

 

The Fifties could be felt throughout the show — in the demure proportions of skirts, dresses and coats that mostly reached below the knee. Fulton’s delicate and pretty palette of soft blues segued to a caramel, camel, taupe, mink and cream. Loads of pleats heightened the ladylike allure.

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