What it was: Luxury and kitsch in the new collection of Terekhov
olesya willow
It was strange. Last week, Alexander Terekhov showed a new collection of autumn-winter - 2014, which consisted mainly of dresses that resemble outfits for graduation. These were silk dresses with lurex, dresses with a smell and a deep V-neck, dresses with a silk bow at the waist, made up of color blocks (pink, blue, yellow, coffee) with a leopard, dresses embroidered with beads, maxi-dresses with a bodice and a skirt-sun, things from Jacquard. The entire collection was built around the author's print - a running leopard, which clearly refers to the symbol of the Cartier jewelry house. There were also good moments: bows and boas on the neck, colored fur, a beautiful black oversized coat with a cheetah, but it all looked more like an exception than a key line. In addition to this, the models drank champagne and threw money at the finale of the show - all along the line. In addition, hairstyles and make-up seemed very familiar: well, of course, it was such smoky-eyes, arrows, bronze blush (the tone of the face was different from the tone of the neck) and styling with curls, we seem to see all the time at the premieres in the October cinema. Was it irony or was it all serious?
Speaking directly, Terekhov showed a vulgar, kitschy collection in the spirit of the early Versace, Roberto Cavalli and Moschino from the 90s. It is evident that he cares about his customers and knows very well that they really love. He carefully chooses beautifully fitting and shiny fabrics if necessary. Measures length accurately. However, before he always managed to balance - among the things in the men's style or minimalistic could slip a few silk dresses with a laconic cut from the neckline. But purely formally. This time the feeling that Alexander just took and combined all the individual customer orders of his studio in a single show. In this case, the designer openly admits that he was ironic. The question arises: over whom and over what?
Alexander Terekhov
I wanted to make a fun, ironic, little fake collection. In my past collections there were also rhinestones and sequins, but in this collection I specifically used them too much. I didn’t like the leopard before, but after working on this collection I loved it, because this print might look elegant and it didn’t.
Now in the global context, the era of kitsch, vulgarity of the late 90s and early 2000s is returning. In a fashion again, maximalism, and the last week of fashion in New York, it seems, in spite of all, showed an inexplicable dominance of ugly design. But here is what we see: thanks to competent work with kitsch and cooperation with the singer M.I.A. Versace brought back the coolness and energy of its Versus line, which everyone successfully forgot about at some point. We again caught fire with Moschino's kitsch, which is now exploited by Jeremy Scott. Nicola Formicetti returned the wild gloss to Diesel brand in time - see the latest collection: rivets, gold, giant metal buckles, leopard print. Nicholas's inspiration seems to be drawn from the Army of Lovers "Crucified" music video. Did Alexander Terekhov get there too?
Kitsch of the late 90s and 2000s in Europe and we are not the same. They have long formed aesthetic immunity. We recently wrote about why Europe and America can, with a clear conscience, ironicize a sample fifteen years ago. British designers, it seems, without glitter and sequins can not exist at all (remember the last show Ashish). If we look at the archival photos of the European 2000s, we will see where our legs grow from - look at a selection of photos from English clubs where everyone wears Moschino, Versace, Iceberg, and everything looks a little different from ours with the same set of stamps. The heroes of these pictures, of course, have their own style, which brands are borrowing today.
What can Russian designers borrow from Russian trash? In Russia, kitsch is in itself, always in the foreground, it is chaotic and merciless. Fragments of the Russian 2000s "with strazikami" firmly sit in the minds of Russian women until now. No matter how diligently fashionable magazines and websites of Phoebe Faylo and Gilles Zander promoted in recent times, everything seems to be in vain. We have not fully taken root - gold, cheetah and luxury, waiting for their epochal world return, we did not go anywhere. Therefore, I really want to see their ironic twist - conscious and thoughtful.
And it seems that such a solution Terekhov proposes, transmitting their own spirit to Russian women. This is either the greatest designer breakthrough (from a philosophical point of view), or the greatest failure (in terms of design). Will this bring us to the idea that Yudashkin is also all right with a sense of humor, because he successfully exploits "classic feminine silhouettes"? And these countless designers from Moscow fashion weeks - are they joking too? Still, in Russia it is dangerous to flirt with kitsch, but, of course, it is fun and seems to be necessary. It now remains to wait when the heroines of Tatler in full seriousness dress up in a leopard dress with a bow. And after all dress up. Only normcore, only hardcore.