Thursday, September 5, 2013

Creatures of the Wind Spring 2013

It's kind of hard to articulate, but Creatures of the Wind keeps me young. Their runway shows are minor affairs of two-dimensional catwalks, missing the pomp and circumstance that many fashion houses invest in but that seems to add more value to the collection itself. For Spring 2013, androgynous hairstyles of split ponytails and loosely edgy fringes lead the way with undertones of Martian red eyeshadow. It seemed like the new interpretation of a suburban 1960s housewife, an aesthetic I generally obsess over and idolise thanks to people like John Waters and Tim Burton. They see the beauty in this era, and make it wonderfully strange while maintaining that awful cheesiness about it. But enough about pop culture, we're here to discuss clothes. Sensible knee-length pleated skirts and sensible monochrome shoes acted as a kind of canvas for minimalist polo shirts in creative prints and patterns. Something about the whole affair seems befitting of a Country Club or at the very least your local women's institution where people get together on a weekly basis to make crocheted handicrafts along with strange tea cosies and woolen dolls. But I am notorious for imagining the most abstract back stories when it comes to fashion collections.

Can I just say I am generally a hopelessly uncool fangirl when it comes to the inclusion of women of colour and in particular Chinese models into mainstream runway presentations? And I should point out Creatures of the Wind was no exception. My fascination is on a personal level; being born to a Chinese-Malaysian mother and Caucasian father in Australia has bred the obsession of identity and figuring out my place in society. I guess I feel weirdly well adjusted and beautifully confident when Asian women walk catwalks.
Moving on from feminism and representation, I find Creatures of the Wind collections to be comforting to me specifically as they produce energetic patterns and prints each season. If there was a Mad Hatter for weirdly printed clothes, I would be it. As a skirt I found this geometric mish mash of red, white and blue to be vomit-worthy (maybe those awkward saddle strap things put me off?) but by the time I saw the cute panels of the shirt and jacket I was hooked. That's what a true genius is capable of- they turn loathing into our unexplained love. I think for that very reason I have such a dynamic relationship with books written by J.D. Salinger.

Because I had been totally brainwashed in a sea of technicolor, feel good, vintage revival VIBES I was pretty much flawed at the finale. The snakeskin motif was present from the beginning but after all the lovely colour and patterns generally imitating the most pristine wallpaper ever seen I had pinned my expectations on pink or green worming its way into the fancier dresses. And normally when used in fashion, snakeskin takes on that earthy tone of brown and naturalistic sheen. But Creatures of the Wind showed they it looks better in a silver metallic finish and as a label they can create amazing, haute couture gowns just as well as any other fashion label. And you know what? I prefer this short-sleeved, multi story dress of dreams. It's complex and catches the light with such an energy even as a motionless photograph I know its nature and behavior. That's how ideally clothes should translate when I see them online.

No comments:

Post a Comment