Day two got off to a rousing start with the NYC-based Laura Siegel. Her showings have enchanted in the past, and this season was no different. She opted for a more traditional setup, with a single model posing on a riser before rotating backstage. (Last year, her static presentation was far less successful.)
Working with artisans once again, Siegel showcased highly layered looks in a palette that morphed from rusty reds to earthy greens. The mash-up of block prints, tie-dye techniques and hand embroidery lent everything a tribal, nomadic feel that exuded warmth and a sense of security. An all-green look was exceptional: an embroidered leather jacket and drop-waist pants were anchored by a chunky knit scarf, really showcasing the designer’s aesthetic.
Klaxon Howl’s Matt Robinson managed to envelop his entire collection with dark appeal from the very start: a lone guitarist set the scene, strumming dissonantly while spotlights pinpointed various models in the dimly lit room. It was great staging — though it made seeing the clothes a little bit tricky. In an opening video, Robinson explained that his label is “anti-fashion,” and that he’s not about reinventing the status quo each season: his job is to build menswear staples using high-quality fabrics alongside cuts that will stand the test of time. A bearded fellow, with a Zach Galifianakis air to him, opened the show in a black beanie, a boxy camel-coloured jacket and relaxed-fit pants, exemplifying the designer’s vision. Favourite pieces included a military-inspired jacket with leather detailing at the cuffs, and a chocolate brown and black varsity jacket with patch pockets.
Next up was David Dixon. What is there to say about the designer? Obviously he has his fair share of impassioned customers, seeing as he’s been in the Canadian fashion scene for a gaggle of years. Generally, however, his collections tend to underwhelm in a slightly overwhelming manner, and this time his gaudy tendencies once again reared their heads with an insistence on sequined sleeves, skirts brimming with petals and bodices that brought to mind a fanned-out serviette. In some instances, however, Dixon’s way with cloth has to be admired; the cuts on the shift dresses were impeccably done, and they created some rather interesting lines. A royal blue number with miniature peplums, if you will, over the hips, was a standout. One question: where was Suzanne Rogers?
Last year, the oh-so-charming Duy Nguyen snapped up the Mercedes-Benz StartUp prize; this season marks the debut collection of Duy under their direction. Citing Arctic nature as inspiration, the designer sent out a series of looks modeled after the icy landscape of the north. A maxi dustcoat in cream and black created a dramatic silhouette, while an icy blue trapeze coat — worn over a white plastified denim dress — was highly covetable. The approach to eveningwear was effortless: a chunky knit sweater topped with a scarf was worn with a long skirt crafted out of tiered lace. Stunning.
Sid Neigum brought the day to a close. Having recently won the TFI New Labels competition, Neigum is one of the country’s most exciting young designers. For fall, he turned to traditional uniforms, breaking them down into his post-apocalyptic vision. As a cellist wearing an extended samurai knot set the scene at the head of the runway, models marched out in what we’ve come to expect: layered garments with asymmetrical hemlines and dramatic proportions. The second half of the show was more stimulating, with a succession of prints shown. A black-and-white checkered print made way for a floral, which juxtaposed the negative with the original image. This new direction for Neigum worked well: the final looks — done in a print that felt like a deviously warped take on Monet’s water lilies — were the most tantalizing and will hopefully make their way onto many a back come fall.
Next up: Matis by Lucian Matis and Joe Fresh