pre-fall-2016

source: pic bazaar
Mary Katrantzou推出了2016早秋系列，以反乌托邦科幻小说为设计主题，创作灵感源于美国科幻小说家Isaac Asimov与Philip K. Dick的科幻作品，捕捉了二十世纪六十年代未来主义邪典科幻小说的鲜明主题与吊诡风格。这一季Mary Katrantzou继续探索几何与曲线构成的视觉美学，以若隐若现、层层叠叠的绉纱演绎出女性的娇柔。精简的纯粹设计虽有悖于Katrantzou以往的繁复，但同样别具巧思，点缀其间的彩虹色唯美图案汲取自传统日式和风挂毯，或化为拼色单品的边缘装饰，或融于抽象诗意的印花之中，成为系列单品上的点睛之笔。
.
.
.
.
.
.
.
source: surfingbirdru
Предосеннюю коллекцию Мэри Катранзу, можно сказать, посвятила Айзеку Азимову — и вообще научной фантастике 60-х. Но необязательно признавать себя гиком, чтобы полюбить эти наряды
Гречанка Мэри Катранзу начинала свою карьеру с калейдоскопа принтов, несколько сезонов назад променяла их на аппликации, а теперь опять ищет новые пути. В этом межсезонье принты вернулись, но теперь они уже не становятся единственным художественным средством в коллекциях, а работают заодно с объемными деталями. По платьям и комбинезонам дизайнер пускает волны и воланы, и с первого взгляда невозможно определить, какие из них нарисованы или вышиты на ткани, а какие и в самом деле выполнены в 3D. То же самое получается и со всеми остальными мотивами: настоящие прорези или перфорированные вставки маскируются под рисунки, а иллюзия глубины в самых неожиданных областях достигается за счет переливающихся голографических узоров. То появляющиеся, то исчезающие блестящие и мерцающие детали еще больше путают мысли. С оптическими обманками Катранзу приходилось работать и раньше, но только на этот раз все получилось так убедительно — из мастерицы принтов и графических редакторов греческий дизайнер выросла в настоящего экспериментатора.
Все эти новые техники идеально соответствуют заявленной теме коллекции: дизайнер решила вспомнить 60-е и несколько старомодную по нынешним временам, но до сих пор по-своему обаятельную научную фантастику тех лет. Поэтому многие вещи выглядят так, словно собраны из кусочков фольги, а блеск и переливающиеся вставки становятся главными героями — похожие костюмы можно увидеть в старых фантастических фильмах про покорение космоса или вторжение пришельцев.
.
.
.
.
.
.
.
source: marykatrantzou
Mary Katrantzou was born in Athens in 1983, to an interior designer mother and a father who worked in textile design. Having developed an appreciation of applied design from an early age, she moved to America to study for a BA in Architecture at the Rhode Island school of design, before transferring to Central Saint Martins to complete her BA degree in textile design. Graduating from her BA in 2005, Katrantzou shifted her direction from textile design to womenswear with a focus on print. When studying at Central Saint Martin’s, she became interested in the way that printed textiles can change the shape of a woman’s body and went on to graduate in MA Fashion from Central Saint Martins with distinction.

Katrantzou’s graduating show in 2008 mapped out her signature style.

Katrantzou’s graduating show in 2008 mapped out her signature style. It was themed around trompe l’oeil prints of oversized jewellery featured on jersey- bonded dresses. These pieces created the illusion of wearing giant neckpieces that would be too heavy in reality. She also designed real pieces of jewellery made out of wood and metal that were exact replicas of the prints. From the beginning her work has been about perception and perspective, and channelling that through a visual language that is used to design desirable clothes that are flattering. Her first ready-to-wear collection debuted at London Fashion Week in Spring Summer 2009, with the support of the BFC and the New Gen Scheme. From there, Katrantzou picked up 15 prestigious stockists including Browns, Joyce and Colette. She now boasts over 250 stockists ranging from Joyce and Colette to Selfridges and Barneys.

Mary Katrantzou’s thematic collections revolve around an icon of luxury, looking for the filtered beauty within it; an object from art or design that a woman would not be able to wear if it were real. Previous seasons have seen collections based on perfume bottles, artisan blown glass, interiors and objects of Art, vintage postage stamps and landscapes, to name a few, while keeping the printed image central to her aesthetic. Print, being so visual, has allowed her to create her own distinctive world but in the visual language that she creates, colour texture and shape are equally important to print; creating something new, something innovative and something that people will appreciate for its intelligent design aesthetic, as well as its function. Each print is designed around the garment, and the garment simultaneously around the print.

“Print can be as definitive as a cut or a drape and allows a woman to filter beauty found in design, in a subversive way. All my prints are constructed through digital technology. Digital print allows me to experiment with print in a way that fine art and other methods could not. It opens up a huge spectrum for possibility; I can create possibility out of impossibility, surrealism out of realism and both vice versa.” says Mary.

Mary received the prestigious Swiss Textiles Award in 2010, and in November 2011 she was awarded the British Fashion Award for Emerging Talent in Womenswear. In February 2012, Mary was awarded Young Designer of the Year at the Elle Style Awards, and was also awarded Designer of the Year at the British Fashion awards last year. At this year’s British Fashion Awards, Katrantzou is nominated for the New Establishment Award.

As well as producing a second collection for Topshop in 2012, she has also collaborated with Atelier Swarovski on a jewellery collection and worked with couture embroidery house, Lesage on her AW12 and SS14 collections. February 2012 saw the release of her much anticipated collaboration with Longchamp creating a capsule collection of their signature bags and totes. Recent collaborations also include M for Moncler, a 25 piece collection based upon the interiors of cars and gypsy caravans and a full range of denim pieces with reknowned denim brand Current Elliot.
.
.
.
.
.
.
.
source: vogue
The big surprise in Mary Katrantzou’s new Pre-Fall lineup was a double-face cashmere cape, gray on the outside and camel on the inside and as minimal as anything she has ever done. The second biggest surprise? A matching flounced skirt. Since her 2008 beginnings, Katrantzou has excelled at print and embellishment—her latest runway show was a master class in both—but tempting though it may have been, she’s mostly steered clear of streamlined simplicity until now. Stores like to put designers in neat little boxes, and Katrantzou’s has always been the maximalist one.
Bristling at such boundaries, and with a new CEO (formerly of Thom Browne and Alexander McQueen) who is encouraging her to broaden her offering, Katrantzou explored new avenues for Pre-Fall. The double-face cashmere was just one of the developments. She’s rarely been one for a long dress, but the new collection featured several. In one-piece and two-piece styles, their fluid ease would be a refreshing sight on this Sunday’s Golden Globes red carpet. A more structured jumpsuit with a cutout bustline is reportedly already in Los Angeles on a celebrity stylist’s rack.
The starting point for the collection was ’60s sci-fi and books by Isaac Asimov and Philip K. Dick. These produced embroidered, mixed-print dresses that will prove more familiar to Katrantzou’s followers. Nothing wrong with that.