Boris Bidjan Saberi brushed away the superfluous with his spring collection, training his sights — and design skills — on clothing in its purest forms. With achromatopsia in mind, an unpronounceable term for colorblindness, he worked a palette reduced to tones of grays, blacks and whites. The setting? A raw cement venue. In this pared-down universe, Bidjan Saberi showed what he could do — an awful lot.

Starting with the simplest silhouette, the first look was, in his words, “just a shirt with a back seam, that’s it, just the width of the fabric.” Two long streams of matte, black ribbon — he called it tape — trailed behind. This was what he used to cover seams.

Black coats were outlined by this seam-covering fabric tape, adding a new dimension as well as the optical illusion of something like leather panels. Sleeves were slit open and left to hang over the arms, for a cape-like effect — very cool. Shirts were long, almost becoming dresses, while pants were often short. A long, chunky knit sweater — though less chunky than in springs past — stretched below the knees.

He introduced a new accessory — not a backpack, because it could be worn in front, and not quite a leather vest, either. It was something like a flat, oversized gourd, created from thick, gray or black leather, treated for a thick, distressed effect, zipper pockets on each side. Also cool.

With mining clothes as the sartorial reference, thus freed of military influences, the designer steered the label into softer territory.

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