Erdem Pre-Fall 2012

[Stereo_Flo]

(Click for HQ!)

-style​

 

[Stereo_Flo]

(Click for HQ!)

-style​

 

[liberty33r1b]

fantastic! love the prints (obviously), especially on the dresses, and the trenchcoats make for a well-edited fall collection. well done!

 

[Squizree]

Would love to see Princess Catherine in this

 

[chloesaab]

the shoes HIDEOUS everything else is gorgeous

 

[Psylocke]

Pretty. And I love the way the collection is presented, not as stale and emotionless as most other Pre-Fall and Resort collections. I really like the second look in post #2.

 

[YoninahAliza]

Love the prints (as always) and the clothes themselves. And that tan coat with the black lace detailing is divine. Like Squizree, I'd love to see Princess Catherine sport some of the clothes from this collection, it suits her style so much.

 

[mighty_isis]

Beautiful! Love the simple color scheme.

 

[KemAlnagdy]

love the prints , love the colors , love the combinations !! love everything about this collection !!
Charlene and Catherine would look amazing in many of these dresses and coats !

 

[TianSoFine]

Everything looks really lovely. Erdem makes me like colour schemes that I don't normally like at all.

 

[Prairie]

That's pretty as always, but that's it. Nothing spectacular.

 

[john2elmejor]

Amazing! I really like it!

 

[dior_couture1245]

He confuses me. How long can one survive when every season is essentially the same thing? Floral prints cannot define a designer or a house alone. There has to be something else...and, really, there is very little here. Take away the flowers and you're left with rather basic and uninteresting clothes. Erdem has really boxed himself into a corner at this point. He's essentially handcuffed himself to using florals for the rest of his career.

Someone like Lacroix, for example, is a designer who used florals almost every season of his mutli-decade long career, and yet, florals where not what defined him. A part of the definition, to be sure, but there was a broader message and vision that the florals supported. Here at Erdem...these flowers seem like flowers for the sake of flowers.

 

[Deleted member 1957]

love it especially the trench coats

 

[Not Plain Jane]

Pretty. And I love the way the collection is presented, not as stale and emotionless as most other Pre-Fall and Resort collections. I really like the second look in post #2.

Agree on both the presentation (nice to see Kirsty too!) and the second look in post #2. The colour usage is quirky. I like it.

 

[HeatherAnne]

I don't know, everyone called his Spring collection "mumsy" and I couldn't have disagreed more, but now I look at this and that word definitely seems fitting...

And I don't think it's the florals so much, but rather the combination of then florals when paired together with the most basic of silhouettes (a fact dior_couture1245 wisely pointed out).

I still think it's lovelier than most of the Pre-Fall collections, but I also think my love for his work is starting to wane a bit.

 

[Stereo_Flo]

by Sarah Mower​

They’re not exactly fleurs du mal in any dark and evil sense, but there’s definitely something a bit “off” about the flowers Erdem Moralioglu has picked for pre-fall. There’s a dirty tangerine, chrome yellow, a smattering of electric blue, often backed with a solid beige the designer calls “tobacco.” It’s odd—not a bunch of colors nature ever put together, and certainly a departure from the pretty, chintzy blues and whites of his spring collection. “I was looking at sort of naff fifties fabrics. I guess, every season, part of the process is wanting to contradict what you did last time,” he declared cheerfully, as he finished up shooting his lookbook with Kirsty Hume in London before the holidays.

It’s not that he’s contradicting what he does in terms of shape. Moralioglu has developed his highly recognizable language of style—the fitted knee-length sheath dress, the neat trench, the use of print, embroidery, and lace and the long, romantic evening dress (though the last is absent from this collection, presumably saved for fall proper). With this interim top-up of pieces, which will arrive in stores around May, he’s finessing details—like raising and sculpting the waistline more—and adding more separates, like the knits and fan-pleated skirts. “I think at this stage of the year it’s more about pieces you can add and subtract, dress up or dress down.” And he’s shaking off the idea that his clothes are for debutantes. “That’s why I wanted to shoot on Kirsty, and last season with Guinevere van Seenus—because it’s about a woman.” He’s right: Erdem is most popular with what might be mentally labeled the International Editors and First Ladies Club—professionals with high-visibility jobs who need to dress pretty formally at all times in public, on the off chance that they might be thrown in the way of cameras while going about their daily business. The Duchess of Cambridge is, of course, the newest and perhaps the youngest, highly visible recruit to their ranks—a fitted navy-blue lace dress with three-quarter sleeves she wore on her tour of Canada was a diplomatic hit (Moralioglu hails from Montreal), and seen as appropriate—just fashionable enough, effortless to move in, decorative yet unpretentious.

The question is whether this May offering has enough of the easy-wear wardrobe “no-brainers” his high-ranking customers might seize on immediately. The trenches are certainly outstanding—particularly the one in brown gabardine with placements of appliqué black lace, and the yellow hourglass dress and embroidered coat both have an optimistic pop of color. Still, there’s something about the more peculiar colors which is challenging—in the sort of way in which you can’t decide whether they’re utterly horrible or potentially quite edgy. This probably isn’t the time to make up our minds—Erdem, like all designers, will be coming out with more of a statement about these inklings of fall in a few weeks’ time. Will his palette turn out to be so wrong it’s actually right? A prophecy of the way other designers might be thinking, too? Or is it just straight-up wrong-wrong? Let’s wait and see.

-vogue​

By Tim Blanks​

Erdem Moralioglu uses words like politeness and control to define his design signature, but the rhythm of his collections also points to an obvious, almost violent call and response. Where Spring was all cool, controlled blue, Erdem's new pre-collection was distinguished by volcanic splashes of orange. True, the signature politeness was there in a pleated, strapless dress with a boned bodice—its ideal accessories a dry martini and a little light jazz on the hi-fi—or the black lace twinset, or the dress that masterfully matched a high-waisted pencil skirt to a draped, three-quarter sleeve blouse (that combination of structure and drape is a new fascination for the designer). But tucked away on Erdem's mood board were some small photos of Jeanne Moreau, the French actress whose combination of twinsetted bourgeois decorum and knife-in-the-back wantonness electrified uptight audiences back in the days of black-and-white. Those images were a more meaningful signpost to the essence of the collection.

The colors really told the tale. That orange was fused with yellow in a hectic floral that looked like agitated lava on the background of a black crepe skirt. It reappeared as a lurid lace appliquéd across a dress in tobacco-shaded wool. Equally outré was the combination of chartreuse and royal blue, as a silk cardigan over a dress, or as lace of one color appliquéd on a dress of the other. Imagine either of those outfits as a same-y symphony of tone-on-tone and it was easy to see how the politeness would veer into dull propriety. But Erdem has triumphed over the fine line yet again with his instinct for the rightness of wrong. It's even started to look commercial on its own terms—again, it didn't take much to visualize the mass appeal of a tobacco-toned trench in waxed cotton with a smattering of black lace overlay. It also helped that the designer confidently steered his cocktail dressiness—another longtime signature—toward a more casual daytime attitude. All in all, a stimulating appetizer for Fall.

-style​