Add Albert Kriemler to the pack of designers mining periods when the role of women was in flux. But he dialed back more than 100 years to the Vienna Secession period, arguing that Gustav Klimt liberated women from the corset in his paintings before Parisian couturiers, and that Egon Schiele devised an expression of beauty that is relevant today. “It was groundbreaking in this case and we’re in a moment for women again,” Kriemler said.

Giant Schiele drawings formed the backdrop for his fall show, lending the vivid blues for the opening look, while Klimt’s gilded touch saturated his terrific metallic shearling vest and a glistening kangaroo robe coat.

This was a handsome and polished collection, steeped in luxury and hinged on looser silhouettes, echoing the kimono and robe shapes worn by the bourgeois and bohemian women in the Madame d’Ora portraits he tucked into his press kit.

Meaty, batwing cardigans coats and buttonless double-face toppers had a languid allure, interspersed with taut leather coatdresses, slim sheaths in St. Gallen embroideries and sumptuous reversible shearlings, one a mesmerizing mottle of black and deep blue.

The clothes looked expensive and easy to wear, exalting the quote by architect Otto Wagner also tucked in the press kit: “There is no beauty without practicality.”

By  on March 4, 2018

Add Albert Kriemler to the pack of designers mining periods when the role of women was in flux. But he dialed back more than 100 years to the Vienna Secession period, arguing that Gustav Klimt liberated women from the corset in his paintings before Parisian couturiers, and that Egon Schiele devised an expression of beauty that is relevant today. “It was groundbreaking in this case and we’re in a moment for women again,” Kriemler said.

Giant Schiele drawings formed the backdrop for his fall show, lending the vivid blues for the opening look, while Klimt’s gilded touch saturated his terrific metallic shearling vest and a glistening kangaroo robe coat.

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