Erdem Resort 2017 Collection Is All About Romanticism
Born and raised between Canada and England, half-Turkish, half-British Erdem Moralioglu is used to living amid different cultures and heritages, and often uses such eclecticism and receptive attitude to adorn his collections with dichotomous styles and geographically contrasting patterns. For his Erdem resort 2017 collection, he specifically drew inspiration from completely different cultures, relentlessly travelling in both space and time.
Those, who like following Erdem Moralioglu’s efforts, will surely recognize his unique careless signature style, which always takes the designer into a world wherein trends are less important than making a woman feel beautiful. Although his latest resort line-up features some of next year’s main trends too, such as cut-outs and off-the-shoulder necklines, Moralioglu almost architecturally focused on the proportions and figures, thinking of the ultimate results of his creations rather than of their overall attitude towards the upcoming fashion trends.
Intertwining modern details with pompous figures, for his resort 2017 collection Erdem got infatuated with Japan’s early Thirties “modern girls’ fashion and the ethnic kind of fashion typical of the Far West, completing the looks with a few Versailles-inspired structured cuts that layer the figures and make them look thicker and even more intricate. Such layers mimic the ocean’s waves too, and could be credited to the journeys the talented designer himself took back in December 2015, and which inspired him to design this collection.
“I spent the Christmas holidays there and traveled around to Kyoto and Naoshima,’ he declared, “which made me think again about the to-and-fro between Japanese culture and the West.’
The Versailles-inspired motifs have also been expressed in the butterfly sleeves and jabot collars the sheer white shirts are embellished with, and which consequently highlight the collection’s contrasting variety of Nehru collars and Japanese-inspired kimono jackets and prints. Moralioglu anthropologically explored the whole ‚Äö√Ñ√∂‚àö√ë‚àö‚â§Japanese girls in the Thirties’ pattern in two distinctive, highly representative ways. While on the one hand he chose to accentuate Japan’s more traditional heritage through colorful botanical prints, on the other he focused on what young adults loved to wear during that decade, namely Western ensembles.
In doing so, he couldn’t refrain from almost academically focusing on Japan’s different takes on the Western culture, namely the one that is more linked to France, and the one that loves to mimic America’s cowgirl/boy and surfer culture. Whilst the whole California motif was left apart (we have to wait for the last decade of the XX century for a ‚Äö√Ñ√∂‚àö√ë‚àö‚â§California girl’ sort of revival, in Japan), the Wild Wild West theme got greatly represented through suede jackets, oversized ponchos and what looks like haute couture versions of the ‚Äö√Ñ√∂‚àö√ë‚àö‚â§prairie dresses’.
To better chronically synchronize with the Thirties, Erdem also opted for peplum cuts, dropped waists and mannish proposals, adding a few androgynous pinstripe jackets and trousers that look as lavish as cozy. No doubt, he is a fashion astronaut!
Photos courtesy of Vogue