For Resort, Erdem has imagined the wardrobe for a female character who combines the glamour of society with a more grounded life outdoors. The collection has its roots in the 1950s, but the eccentricity of ceremony in times of austerity is a recurring English trope. Pomp despite circumstance; grace and practicality hand-in-hand.
Within a range of 1950s silhouettes we find utilitarian fabrics and cuts with surprising moments of couture volume and craftsmanship. Garments in linen, tweed and cotton are elevated with hand-embroidered floral motifs and crystal embellishments. A precious chartreuse gown is worn with a linen trench coat. A button-down shirt and pencil skirt is adorned with an oversized silk bow; a broderie anglaise dress has graphic puffed sleeves; and prim underpinnings appear as intricately embroidered and beaded bustiers. They hint at a demure personality with a wilder side, simmering beneath the surface.
18th century Dutch flower still lives lend a recurring motif. Bold florals appear starkly embroidered on cashmere coats and as foreground or background prints on various gowns and skirts. Throughout the collection florals feature as fine monochromatic etchings, like black and white photography of flower arrangements. Elsewhere, mohair garments and dresses have abstract floral shadow effect, as if standing in a walled garden under dense greenery, sheltering from direct sun.
The etched and embroidered motifs contrast sharply with a saturated colour palette of oranges, pinks and a range of vivid greens. Colour is used to subtle and dramatic effect simultaneously: hints of embroidery pick out the pollen on anemones that feature in a white cotton shirt dress; riotous tangerine, fuchsia and magenta have an almost neon quality. It is as if the colour of the flowers, drained from black and white photography, has returned here with extra intensity.
While at The Garden Museum researching Cedric Morris for his menswear collection, Erdem learnt that Constance Spry would source flowers from Morris at Benton End in Suffolk. Spry’s store “Flower Decoration” was at 64 South Audley Street in Mayfair, directly opposite where Erdem’s own store sits today. Coincidence besides, there is a synergy between the worlds of Spry and Morris, echoed here. Both characters were independent, creative spirits with a rugged passion for their craft. The collection captures and accentuates this disparity. The elegance is heightened and the utilitarian contrast is unapologetic: robust beauty with an earthy edge.
