Review of Erdem Fall 2023 Fashion Show
Preserving the Beauty of Romance
By Angela Baidoo
In a world that is often questioning whether romance is dead, Erdem Moralioglu intones season after season that there is inherent value to be found in this pastime. Crumpled taffetas and off-kilter asymmetry remind us of the imperfection and often fleeting nature of beauty. In his world, it is also held extremely delicately, in some cases being further protected by a veil of tulle, guarding precious jewel embellishments and pigment-dyed florals. There were hems that were also left unfinished or shredded, which again added in an element of raw beauty.
Crumpled taffetas and off-kilter asymmetry remind us of the imperfection and often fleeting nature of beauty.
Known for exploring London’s historical landmarks – from its museums to its libraries – for inspiration, this season the designer looked no further than his Bloomsbury townhouse. Which after stripping back its walls, he discovered the ghosts of the house’s former inhabitants, “A Home of Hope for the Restoration of Fallen Women” lingered on, their presence imprinted on this collection.
Despite the darkened mood of the shows setting there was an energy which came through in the shots of bold colour, from lavender – a colour both Pantone and WGSN have backed recently, so it is little wonder that it started trending on the runways of New York – to apple green and an acid yellow. The welcome breaks of these vivid tones make for an interesting update on Victoriana and is a palette the designer should continue to explore for his spring summer season. As rendering these historical silhouettes in Technicolor gives them a new lease of life and a youthful practicality.
Keeping to his silhouettes which accentuate the bustline, waist, and hips for fall 2023, the designer didn’t veer too far away from his structured script when it came to occasion dressing. Being that Erdems designs deserve only the most stately of occasions. These statement dresses are coming into their own as the industry once again turns back towards getting dressed up. Here, that involves looking to an era when even a casual jaunt meant being squeezed into a corset and a modestly proportioned full skirted dress.
The collection, although very much remaining structured, relinquished some of the strictness in the form of separates, wide legs, tiered ruffles and soft sleeves. A cable knitted set was executed particularly well with Victorian flourishes of decorative lace embroidered in asymmetric applique, as well as was a cropped alpaca knit that was paired with a draped bustle taffeta skirt. The exaggerated sleeve focus which saw oversized bows encase arms throughout the show, created cloud-like volumes around the models.
The clothes that Erdem creates are like keepsakes, at a time when much is made to be disposed.
As a response to the world around him, the dedication to the handcrafted and lovingly worked into couldn’t be more pressing. The clothes that Erdem creates are like keepsakes, at a time when much is made to be disposed. Attending his ‘events’ gives the viewer a moment of pause in the relentless cycle of shows, the atmospheric setting of a darkened room causing the eye to focus – this season in particular saw each model highlighted with spotlights, as if in a museum or cabinet of curiosities.
Remaining independent as a brand house, affords the designer the freedom to continue to instil and distil his design codes, which are steeped in researching and reviving the annals of Victorian historical dress, society, and culture. Communicating to his audience his deep appreciation for the experiences of women throughout history, through the medium of dress.
The work of Erdem Morialoglu feels like a refined preservation of the past and the way in which it is still relevant to today.