Achtland: In Achtland’s runway premiere, creative director Oliver Lühr convincingly juxtaposed luxe and lax for a new generation. Silk was shredded and then stitched into Venetian blind pleats for little jackets encrusted with floral embroidery or T-shirt gowns, while a silk/wool/linen denim look made for truly urban sportswear. Purposefully unmatched combos further underscored Achtland’s stylistic nonchalance.
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This story first appeared in the July 11, 2013 issue of WWD. Subscribe Today.
Augustin Teboul: Annelie Augustin and Odély Teboul’s unorthodox looks for spring were ornate and icon-influenced: monk style meets mantilla. The all-black garments glittered with dark crystals as they flashed intricate lace and leather. Among the handcrafted opulence were more wearable looks like tulle-trimmed trenchcoats, easy silk dresses, jet-studded viscose tops and full trousers.
Dawid Tomaszewski: Always a reliable source of embellished elegance at MBFWB, this time Tomaszewski toned down the glitz with appealing results. Taking a black-framed wicker and tubular steel chair by modernist furniture designer Marcel Breuer as his inspiration, he interpreted a latticed wicker pattern in a print, for a crochet and in appliqué work. The designer’s patterned and neutral evening caftans, lanyard-cinched gowns and trim dresses felt modern and relaxed.
Hien Le: One of Berlin’s leading proponents of clean, pared-down styling, Hien Le’s silhouettes for spring had their origins in athletic basics, but were more city-bound than sports-bound in high sheen cottons, warm Alcantara and supple silks. He showed new versions of his signature white shirt and played with a winged dragonfly print, but his less-is-more approach really took flight in coral and tomato silk dresses and separates, accented with the kind of subtle detail his devotees adore but many others miss.
Issever Bahri: Crochet met Captain Kirk in Derya Issever and Cimen Bachri’s collection inspired by the “Turksploitation” film genre of the Seventies that respun Hollywood blockbusters like “Star Wars” into Islamic-influenced hits. High-waisted HotPants and cropped trousers featured prominent zippers and trimmed pockets, while red and gold crocheted concentric circles featured on superhero sweatshirts, with mint green versions of the same detail serving as shoulder adornments on a metallic jacket.
Ivanman: MBFWB first-timer Ivan Mandzukic’s men’s wear both challenged and delivered. Back treatments — which ranged from barely-there to net or other sheer inserts — provided intriguing views from all angles. He capably reinterpreted his more daring looks into street-worthy versions, substituting black for pink, or stitched geometric details for graphic insets, but all targeting a fashion-forward man.
Lala Berlin: Lala Berlin designer Leyla Piedayesh showed a sexy-tough lineup of slim-fit pants, flowing maxiskirts and dresses, leather crop tops and plunging arrow-neck dresses. Jungle prints and images abounded on separates and her signature knitwear, which this time was coaxed into new and novel shapes. A black-and-white print of a shark-infested island scene made for charming HotPants, while a water-colored, faded Ikat print added an airy feel.
Michael Sontag: Michael Sontag added sparkle to his sophisticated simplicity, using just the right amount of Swarovski crystals to accent his intricate silk constructions. Flashes of orange draped around pastels like a ray of sun peeking through at dawn, as white and athletic gray T-shirts comfortably slouched under apronlike halters and topped easy wide-leg trousers.
Schumacher: Dorothee Schumacher’s blast for spring included Pop Art prints, laser-cut leather and primary colors. Roy Lichtenstein-style dot prints brought a dash of fun to skirts, blouses and shorts, and bottom-hugging pencil skirts with jaunty zips added some punch to the package.
Vladimir Karaleev: Cut, no hems please, asymmetrically piece, fold and drape: Vladimir Karaleev stuck to his basic methodology, but gave his consciously haphazard looks a more polished look despite using often coarse or industrial fabrics. On opposite poles, denim figured for the first time, as did a more tactile jacquard that he said “looks couture in a tacky way.”