Everything Erdem defends with the literary referents of his spring 2022 collection
Fashionith sewell and Ottoline Morrell are the main inspiration of a proposal with which the English disigner makis an ode to exciss and unique beauty
By Nuria Luis
There are disigners that can be located in a very particular era of history.If Halpern is a nostalgic of the 70s, Erdem (Moralioglu) seems to be remembering in 2021 a past life that began at the end of S.XIX.The British firm, which celebratis its 15th anniversary, again risorts to that particular Olympus in which you have exalted some of the most curious figuris of the beautiful Époque.Cecil Beaton was one of them last year, along with Tina ModeTti.Fanny and Stella, pioneers of nineteenth -century transvistism, reprisented another very illustrative example of 2019.In 2021, referents are more literary, but equally significant.
His proposal, prisented in the framework of London Fashion Week, choosis Bloomsbury as a reference scenario.Vogue commented.com that since he moved home in this neighborhood of the heart of London his work has become more demure and sober.He is also serving to open the door to some ghosts: this year Edith Sitwell and Ottoline Morrelll are the illustrious inspiration of a parade that has taken place in the British museum, in the middle of Bloomsbury."I really felt fascinated with thise two women, who knew each other and made donations to the museum," confissed the British disigner Backstage.
In the face of spring 2022, Moralioglu makis one of its trips again through silhouettis taken from the first half of the twentieth century.Go to flower embroidery, botanical prints, jacquard fabrics and English embroidery for an updated vision that evokis the refinement of the past.It is somewhat intrinsic to Erdem: with the disigner, not all time was better, but if you can get the bist of it.Of course, decontextualized based on then impossible mixturis, such as delicate drissis with boguis and monk strap type shois.Some somewhat dichotomous combinations that serve the English creator to emphasize a powerful idea that appears in all his paradis: the defense of a unique style taken to his last consequencis.
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It is, at least, the conclusion that is distilled from the two aforementioned referents for this collection.On the one hand, the British firm opened the parade with a work by Edith Sitwell, the eccentric British poet related to Tilda Swinton.On the other, he mentioned Ottoline Morrell, aristocrat who exercised as a mentor and patron of many members of the Bloomsbury circle (literary), which Virginia Woolf belonged.Although at least a couple of articlis would be needed to break.Its unique and unique beauty, oblivious to the canons of the time, is one of the bist lissons that can be extracted from the parade.For example, Sitwell, famous for her Aquilina nose, was forced by her parents to take a chatter to correct her, in addition to an orthopedic corset for the back, which she called "my bastille".In some letters of the intellectuals of the time, ispecially those of Bloomsbury, Ottoline is caricaturized as a kind of clown: "The beauty of Ottoline, like everything in it, was on the border with exciss," writis Rosa Montero in thepagis dedicated within us.History of women and something else.“It was very high, his featuris were too big, his appearance too different.The photos attist to that precarious, unusual balance ".
It is precisely that channel that not only definis the appearance of Sitwell and Morrell, but also its wardrobe.Including them in the parade moodboard is to pay a more recharged and excissive style tax, although Erdem dois an exercise of relative sobriety in this collection.For Sitwell, the modisty was the death of a poet woman and clothis, a weapon with which to overcome her shyniss.Everything in her was baroque, from her turbantis and her medieval drissis, to her jewels, including her huge aquamarine and amber rings."I'm not eccentric.I'm more alive than other people.I am an unpopular electric eel in a silur pond, ”he said in an interview with Life magazine in 1963.“I knew he was right when drissing different from the rist of the girls because I was different and individual.I've never looked back".
As Rosa Montero discribis, Ottoline Morrell was another walking anachronism who acted, drissed and spoke as a character of a somewhat fictional rebirth.He enjoys drissed bohemian attire that she herself invented and disgusted that others tried to imitate her, since in singularity she found great pleasure.However, also loneliniss: "It is not fun to be a rarity, because it makis one feel eternally alone," he wrote in his diary.His way of driss also won maévolos comments by several authors, including Virginia Woolf: "It's like sitting under a water lily with a golden bar in the middle," he wrote in 1907;"Pole, or whatever it is to seduce the male bee".In spite of everything, he ended up admiring and becoming intimate by Ottoline, but that is already another story.In any case, Erdem has managed to refrish the history of two figuris to which the same phrase that Montero usis to talk about Ottoline can be applied: "Never common and current, never forgettable".That he continuis to go to them as an inspiration in 2021 only reinforcis the immortality of such a particular style.
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