Some designers use resort to limber up for the next season. Others, like Marios Schwab, take it as a chance to refine what they were doing the season before. In his case, there can be no complaints on that score because the ideas in Schwab’s beautiful spring 2012 collection certainly deserved a longer lease on life.
Schwab is often characterized as an ace dressmaker, but this small edit focuses attention on the fact that his range has grown; he now does subtle, special-looking separates for day. He’s reprised the chic techno-taffeta coats, designed with elasticized belts fastened with silver clips, which elicited a strong retail response for fall, and there’s a truly original set of sweaters with curviform, which is comprised of almost baroque embroidery edged “windows” filled in with chiffon. They’re variants on pieces in his last collection, too.
Somehow the desirability of pieces like the sweaters got overwhelmed on the runway—they need to be seen up close to be appreciated. Or, maybe, it’s just that all the limelight was stolen by the drama of Schwab’s exquisite, diaphanous finale dresses, which he said were inspired by the spectacular show dresses worn by Marlene Dietrich toward the end of her career. They really deserve a second round of applause, though. Schwab’s trompe l’oeil device of a long-sleeved dress with a sheer double layering of black lace and the illusory glint of a sequin bodysuit embroidered on the nude slip beneath is a genius piece of design. It’s great that it’s getting an encore before Schwab moves on to spring.
Vogue
Schwab is often characterized as an ace dressmaker, but this small edit focuses attention on the fact that his range has grown; he now does subtle, special-looking separates for day. He’s reprised the chic techno-taffeta coats, designed with elasticized belts fastened with silver clips, which elicited a strong retail response for fall, and there’s a truly original set of sweaters with curviform, which is comprised of almost baroque embroidery edged “windows” filled in with chiffon. They’re variants on pieces in his last collection, too.
Somehow the desirability of pieces like the sweaters got overwhelmed on the runway—they need to be seen up close to be appreciated. Or, maybe, it’s just that all the limelight was stolen by the drama of Schwab’s exquisite, diaphanous finale dresses, which he said were inspired by the spectacular show dresses worn by Marlene Dietrich toward the end of her career. They really deserve a second round of applause, though. Schwab’s trompe l’oeil device of a long-sleeved dress with a sheer double layering of black lace and the illusory glint of a sequin bodysuit embroidered on the nude slip beneath is a genius piece of design. It’s great that it’s getting an encore before Schwab moves on to spring.
Vogue
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