Akira, Alex Perry, Alannah Hill, Anna Thomas, AG by Arthur Galan, Bianca Spender, Calibre, Carla Zampatti, Collette Dinnigan, Easton Pearson, Fleur Wood, George Gross, Ginger & Smart, Gorman, Harry Who, Kirrily Johnston, Lisa Ho, Sabatini, Sass & Bide, Scanlan & Theodore, Simona, Thurley, Trelise Cooper, Willow and Zimmermann were all seen on the catwalks of the David Jones Autumn/Winter 2010 Season Launch.

Australian model Miranda Kerr lead the catwalk parade before an audience of more than 500 VIPs at the Hordern Pavilion on February 10th.

The unveiling of the David Jones range started with black. The pavilion was plunged into darkness before the sleek David Jones logo was lit up to shine down on the catwalk. Miss Kerr began the show, also in black. The next few minutes were all about black but before too long indigo blues and fire-engine reds were seen sauntering down the catwalk.

Although the lighting in the pavilion was kept dark and uninteresting the clothing was used to maintain intrigue from the audience. Kelvin Harries, stylist for the show , should be commended for his way of purposefully dictating the trends for the season.

Autumn/Winter 2010 is all about black, white or cream with a brightly coloured or metallic contrast piece.

To say that nothing was simple or basic on the catwalk would be incorrect. Basics were teamed from head to toe on the models with new life drawn into them through texture and often a single statement colour in an all-black outfit.

Vibrant patterns are always unusual for an Autumn/Winter collection. There was no floral to be seen. Instead, metalics and tiny brass beads were used to embellish necklines and waistlines. On every model it was clear that the collections were all about the flow of the fabric and the attitude of the individual who wore them.

The female models had their hair cut short, and the male models were put together with precision – every trouser, every tie and every jacket on the men was co-ordinated and matching. The only exception to this rule was the statement piece which was a reoccurring motif throughout the show.

The catwalk show played through for the best part of a half an hour and all this time the message was drilled into the crowd: keep your outfit simple with the exception of a statement or two.

Article: ELLEN CROSLEY  Photographer:IMAGE NET

Article/Image: ©  2010. All rights reserved.

Begitta, DollHouse - Tea Party Collection

Down the rabbit hole and suddenly, there appears the mad hatter, who extends a tantalising invitation to join the tea-party. This mad hatter however is not so much a literary creation, as an authentic milliner- with a creative forte for extravagant headpieces. Meet Begitta Stolk. At first glance, it’s easy to deride Ms Stolk as somewhat of an ingénue – a babe in the woods, if you will, to uber-girly predecessor Alannah Hill.

The stylistic ornamentation of Stolk’s creations certainly warrants the comparison to Ms Hill, who is widely regarded as an Australian fashion icon. Stolk’s designs are feminine, flirty and have a certain whimsical quality. That is – part circus fantasy, part childhood escapism. It’s as if Stolk is just on the cusp of something. But what is it going to take to distinguish this young designer as a fashion mastermind of her own?

Begitta Stolk may be talented in her own right – after all she was a finalist at the Australian Fashion Design Awards in 2008 and recently presented her ‘Dollhouse Collection’ at the Highlight Show of Gold Coast Fashion Week in May this year. Regardless, the question remains – why is she different from our beloved Ms Hill, who already has somewhat of a niche in the “flirty, feminine and fabulous” market?

Alannah Hill’s designs are marketed as unique for their vintage edge and effortless glamour and, as Hill commented on her designs in an interview with Vogue Australia, “I couldn’t bear to be boring”. Whilst one wouldn’t call Ms Hill’s designs boring, many of her pieces are needlessly becoming streamlined to match a certain refined taste for glamour. Hill’s pieces are characterised by soft fabrics and delicate weaving, most often in pale hues that are certainly sublime and yet beneath, there hinges a tinge of restraint – something has been lost. And Stolk may have just found it. Stolk’s designs inspire an atmosphere of wild abandon – 60’s rock chick, op-shop glamour and top-hats with stunning crown head-pieces. Everything about Stolk’s designs is somehow too bright and too outrageous, with just the right amount of satire to remind us once again that fashion used to be fun. Perhaps the beauty of Stolk’s designs is in the shock value – that keeps eyes glued firmly on the models, as audience members gasp “what is that creation on her head?”

You see that’s the key to survival in this business – the capacity to ignite something more than a satisfactory nod. Stolk’s designs have a certain Chanel quality, in that they’re boundary pushing. On the one hand: finely crafted and decadent – on the other: layers of fake beading to tone down the ‘uppity’ look. Perhaps Begitta Stolk reminds us that fashion can be elegant and refined but that it should never lose the quality of being accessible and fun. After all, nobody wants to be boring.

BLK1 Article: NADA MARTINOVIC

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