Toronto’s World MasterCard Fashion Week is officially over but the ideas still linger on. Herewith, our top Spring/Summer 2014 collections from last week’s parade of fashion.
Maison Matthew Gallagher
Without a doubt, the star of Fashion Week was Matthew Gallagher. Hailing from Nova Scotia, this relative newcomer (he showed his Maison Matthew Gallagher line for the first time last season) put forth a dreamily beautiful ode to summers in Italy’s small-town south.
The garments all possessed a quiet luxury, achieved through the soft palette, sumptuous fabrics and precise cuts. Against a romantic soundtrack (sung in italiano, of course) models marched out in a series of feminine looks that progressed from champagne tones to bubblegum pink, with the odd injection of sky blue.
Standouts included a two-toned spaghetti-strap dress that featured a full skirt in the front, with the back crafted out of a single panel of fabric. A blush pink gown titillated in the back, with two printed and embellished fabric panels secured at the nape of the neck, exposing the spine. Gallagher cuts impeccably, and each piece floated over the body just-so.
There wasn’t a single misstep in the whole collection.
Sid Neigum
Sid Neigum showed a strong collection for spring. This time, the designer opted to (mostly) take a breather from prints, instead focusing on the fabric itself, either draping it or injecting patterns into it via laser cutting.
Metallic garments in chocolate and cobalt shades opened the show, enveloping the body in a protective manner. A series of white pieces followed, injecting some fresh verve into the collection. We liked a cool-kid look in which layers of fabric wrapped around the body every which way, tying in the front (very now). But the most gabbed about pieces were the laser-cut looks, which proceeded out in a march of symmetry. The garments were mostly designed as mirrored reflections, with each half of the piece an exact replica of the other. Very cool.
Lest we forget, the self-designed shoes — hulking masses of crumpled leather — were a much talked about item from the show (this isn't the first time — remember when he sent out Japan-inspired wooden clogs?). Leave it to Sid to continue pushing boundaries with his work.
Beaufille
Beaufille (recently rebranded from Chloé Comme Parris) is always a hot ticket. By now, any fan of Parris and Chloe Gordon is well-versed in their signature look: feminine takes on masculine shapes, intricate uniquely-designed prints and a softly grungy cool-girl vibe.
The best of the bunch included blazers. Touched with a feminine wand, they spilled out into lazy A-lines punctuated with pleats. The dominant print was reminiscent of ancient European mosaics plucked from 16th century churches. It was used best in a silk spaghetti strap dress with a below-the-bust cutout fit with piercing closures. Metal cross fixings were sprinkled around liberally.
In seasons past, the Gordon girls have put out pieces that the audience is clamouring after (that strappy leather backpack; a pale pink moto) but this time, despite a solid collection, the pieces weren't calling out with quite the same urgency.
Mercedes-Benz Start Up Winners
This year’s Mercedes-Benz Start Up competition saw designers from across the country vying for the prize (winners get mentorship from the judges, editorial coverage in FASHION magazine, and a show at next year’s Fashion Week). In a surprise ending, two designers ended up winning after a panel — including our own fashion columnist Jeanne Beker — came to a gridlock.
Malorie Urbanovitch has already been noted in the press thanks to her highly wearable, well-made pieces. The Edmontonian sent out a series of mix and match separates in a muted palette (think dusky rose, lilac and champagne). As a whole it managed to be classic yet au courant, with a nod to grunge noted in toppers wrapped around the hips. A grey and black mohair sweater anchoring a silk dress was a favourite look.
Matière Noire designer Cecile Raizonville’s garments had a bit more urban grit to them. Top looks included the opening one starring a boxy white T with a triangle emblem in the centre; jackets where waists were nipped in yet volume was retained above; and a long dove grey vest with a series of stripes reaching horizontally across the hips. The work felt sophisticated and restrained but never boring.
