VOX VAMPFF WRAP -THE REAR END

Ah, the irony. Voxfrock’s backend techollywobbles lasted precisely seven days, March 17 to 23, a jigsaw-fit with the duration of this most marvellous Virgin Australia Melbourne Fashion Festival.

Yes, our Twitter, Instagram and Facebook feeds did pop and bubble hot all week, but Voxfrock’s dedicated team of frockwriters otherwise filed their show reviews to thin air. THIN AIR! Imagine, Voxfrockers. Grrrr doesn’t cover it.

However. That was Then, this is tech-mended tocking-like-clockwork Now on the Voxfrock blogzine. From our VAMFFVox Files, fattened daily by Alexia (Miss Alexia) Petsinis, Nenagh M., Simone Poole and Angeleah Anton we plucked this dozen frocky reports, lucky-dip style and in no particular order, for your souvenir of the week that was. Relief doesn’t cover it. Kisses from Voxfrock.xx

 PHOTOS: LUCAS DAWSON, www.lucasdawson.com.au (unless otherwise attributed) Main photo, top: Emma Mulholland, Independant Runway
LONGFORM POST: ALLOW 10 MINUTES FOR JOYFUL PERSUSAL

CAMILLA GRAND SHOWCASE
Review: Simone Poole
Camilla Franks proved herself to be more than The Kaftan Queen with her show And God Created Woman. Her trademark tribal aesthetic met digital prints to create impact and theatrics. The Melbourne Symphony Orchestra provided the soundtrack which helped this Grand Showcase live up to its name. Psychedelic colours and patterns paved the way for tribal, Game Of Thrones-esque glamazons and modern-day rock-chick gypsies. Flattering silhouettes, uneven hemlines, metallic embellishments and sequined details covered colour palettes and monochromatic ensembles. Tailored tops and blazers featured structured shoulders and waistlines, anchoring silky fabrics which were then released to move kinetically, giving the mixed textures of separates and floor-length kaftans dramatic effect. High necklines also provided elegance and femininity, while thigh-high boots, statement neckpieces and belts were perfect finishing touches. Camilla’s warrior princesses wore feather headdresses and straw hats on waist-length dreadlocked plaits and elaborate top knots, creating an eclectic, androgynous glamour.
In the words of Camilla herself, this show was a calling; “To all the women with a little bit of crazy…”

SPOTLIGHT FUTURE RUNWAY
Review: Nenagh M.
Future Runway peeked into the prospects of Melbourne’s fashion scene, showcasing innovations by some of the most promising young creatives from Victoria’s secondary schools. First up was a collection by Olivia Aldridge; magenta shift dresses and evening gowns encased in tulle and blossoms. The look was delicate, and not unlike the protective mesh used on flowering fruit trees. Other young designers were heavily influenced by sport-luxe looks: metallic cocktail dresses paired with jersey, intricately woven looks adding unexpected texture to a jersey sweater. Grace Cooper’s white pleather pencil skirt and peplum blazer however, modernised these classic business staples. Paige Rae emerged one of the show’s top three designers with a collection boasting versions of the classic shift dress invigorated with detailed ruffled sleeves and complemented by feather-adorned shoes and headpieces. Show sponsor Spotlight awarded its major prize to St Albans Secondary.

TARGET NATIONAL GRADUATE SHOWCASE
Review: Alexia Petsinis
Emerging design talent in its purest, conceptual forms. Twelve top design graduates from across Australia showed collections that pushed the boundaries of that thing we call ‘fashion’, proving there is no limit to the structure and fabrication that might be put on the body. RMIT graduate Chin Hau Tay’s gigantic fluffy red creations were inspired by the proportions of the teddy bear, while Tan Thanh Trieu presented an awe-insipring arrangement of structural emerald garments inspired by the colour, forms and textures of passport pages. Sydney University of Technology graduate Roxanne Chan reinvented the forms and function of traditional denim garments. RMIT graduate Anna-Marie Gruber showed stark geometrical vests and overlays revealing pockets of flesh inspired by voyeurism and sexual desire.

INSTYLE RUNWAY 2
Review: Alexia Petsinis
Surface embellishment and fabrications of high lustre (we all lust after) appeared to be the order of operations here. Aurelio Costarella’s Grecian silhouettes were broken with contrasting sculpted belts and shoulder straps. One oyster-sheen gown featured a bodice keyhole and embellished straps: goddess-style antiquity transported to a futuristic realm. (A gown for a Muse?) Easton Pearson achieved relaxed luxe in a moody palette of khakis and browns, lightening otherwise dense wools and brocades with flecks of pearl on necklines and sleeve edges. Megan Park also showed just the right amount of twinkle, with beaded flashes seemingly evolved organically on simple tunics and blouses. Hardwick’s dramatic neo-gothic ensembles showed heavy beading on lace overlays but were seemingly weightless on the body. The showstopper was long beaded lace gown with centre split and black-encrusted shoulder feature. In Kate Silvester‘s offering, understated elegance reigned with blushing laces and sheer silks whispering secrets of all things feminine. Ethereal frocks by Rachel Gilbert came in pastel peach, beige, mint; reinterpretations of a classic 20s ‘Deco’ technique that uses embellishment to assert directional movement within the garment. A creamy peach gown with strategically placed silver beading literally mapped the curves of the female form. Thurley registered angularity in leather and net panels. The silhouette of one white outfit with triangular cut bodice was enhanced by heavy block beading. Trelise Cooper showed how the layering of bold satins and airy chiffons may add interest to a shift dress or gathered skirt in the absence of other embellishments. A teal and black frock with cinched waist and bodice detail was sheer class.

CITY OF STONNINGTON FAMOUS FOR FASHION: CHAPEL STREET EDITION
Review: Angeleah Anton
Jack London showcased Brit/Mod Rock and Roll at its best; tailor jackets in luxe fabrics with leather trims to star spangled detailing. Karen Millen showed a ‘Refined Rebel-Soft Punk’ look, rebel inspired with tartan check mini skirt topped with fur trimmed black leather biker jacket. Gorman celebrated Autumn with boldly hued ‘Winter Harvest’, ‘Botanical’ and ‘Mini Chilli’ prints. Fool had fun with bright, vivacious and bold eclectic natural fibre knitted pieces. Calibre showed Russian Blue blazer and Short Mac white jacket with silver buckle detailing on the sleeves, shoulder epaulets and fine tailoring. White Suede was all blue skies and fluffy white clouds with its  ‘Blue Azur’ range. Alannah Hill showed layers of frills and lace in 1920’s ‘flapper’ inspired ‘Sweeten the Deal’ purple silk georgette slip dress. A fitted black lace ‘almost’ mini dress with black lace sheer sleeves and frill hem was stunning. Autonomy’s offering emanated 1990’s Cobain/Nirvana grunge nostalgia and urban cool. Olga De Polga played on ‘Folk Tradition’; woven cloth tops, knitted mini skirts, dresses and jackets of vivid clashing hues and prints. Shag showed a ‘Global Nomad’ mix of vintage with emo/Goth/Punk undertones.

TARGET ROCKS THE RUNWAY
Review: Nenagh M.
The audience was audibly excited as Danii Minogue’s petites range for Target hit the runway. (It will be available in July.) It is sophisticated and heavily focussed on the form-enhancing tailoring favored by its namesake. Offerings ranged from a polished black lace cocktail dress to cropped trousers in a vibrant green confetti prints. Suave menswear was also shown; oxford shirts paired with coloured chinos, and some slick, slim cut three-piece suits. Among the childrenswear offering were comfortable, urbane winter co-ordinates and Target proved its new lingerie line has moved away from the much-publicised ‘50 Shades of Grey’ themed collection and into daintier, ladylike pastels and feathery lace. Youthful streetwear featured faux leather pieces for both men and women, including a shift dress and jogging pants.

SHOP TIL YOU DROP RUNWAY 7
Review: Alexia Petsinis
An antidote to a bleak Melbourne night blanketed by a palette of grey, this show offered a spirit lifting dash of all things we love. It was Neoprene meets Roy Lichtenstein in New York for Alice McCall’s brave offering, with comic strip prints gracing fluted skirts and rigid shell tops. Coral red and vibrant yellow hues added a decidedly 70s ‘mod’ charm to tunic dresses, while a desert scape print featured on skirts and blouses was every bit Nevada Dreaming. Black leather and casual slouch sweaters by Bec & Bridge were offset by exotic florals, with a princess line long sleeve mini winning the hearts of those with a penchant for blushing blooms. Limedrop showed why The Plastics really do have more fun, with gathered clear vinyl overlays embellished with petal details set to be the kitsch buy of the year. Nevenka, on the other hand, remained utterly classic, even a touch Edwardian, with high collar lace details and full bodice ruffles. Deep tangerine hues throbbed for Macgraw, particularly swirled with organic black shapes on elongated skirts and coat linings. Secret South used a digi-floral print to enhance the movement within maxi skirts and loose fitting culottes. While for Shakuhacki, emerald was the hero shade featured with black in an organic floral print fusion. A strapless sweetheart mini with bulbous sculpted silhouette won countless fans, as did a killer zip through black leather dress…so very ‘va-voom’.

NIXI KILLICK OFFSITE RUNWAY
Review: Alexia Petsinis
For those not familiar with the concept ‘bio-psychedelic’ street wear, it’s time to get your future funk on. Time to get NIXI KILLICK. A bright crowd of free spirited hipsters turned out to celebrate the launch of this young ‘imagineer’s’ label. Melbourne’s Toot Fanute Gallery hosted a kaleidoscopic display of the RMIT graduate’s pulsating acid patterns and visceral prints, then paraded in a futuristic tableaux of colour and movement. Killick’s collection shattered prevailing visions of the monochromatic and the muted. Standout pieces included a chartreuse green mesh men’s tunic layered with purple netting, and a teeny embellished two piece in coral geometric prints fit for any girl ahead of her time. While we’re not likely to see Killick’s pieces slip demurely into Melbourne’s Street Style scene immediately, the raucous ovation from her crowd of loyal followers suggested her ethos resonates strongly among those for whom fashion has no boundaries.

DAVID JONES
Review: Alexia Petsinis
The opening show featured collections from some of Australia’s most celebrated designers; Willow, Josh Goot, Dion Lee, Ellery and Rachel Gilbert, among them, an eclectic mix easiest split into key seasonal categories:
Form and Fabrication:
Sculptural silhouettes by Scanlan and Theodore and Christopher Esber suggested a modern interpretation of sleek lines that sit away from the body, while layering of sheer fabrications with leather and wool garments at Willow and Thurley signalled this season’s departure from textural rigidity. A white plunging Dion Lee number worn by Jessica Gomes was a standout, as was a black sequined Easton Pearson frock finished with contrast collar and cuff details; a simple silhouette with a wink of 1960s charm.
Print:
Romance was Born thrilled with a plethora of psychedelic inspired prints accentuating ruffles and dropped waistlines, while Ellery revamped the 1970s ‘Mod Girl’ with bold black and white motifs swirled across shift dresses, blouses and flares. Nicholas showed feminine stripes on waisted skirts and midriff shell tops. Digital prints by Michael Le Sordo and Akin offered a rich fusion of Aztec colourations with splashes of those ‘so now’ cobalts and chartreuse greens.
Aesthetics:
Bianca Spender gave us the perfect ‘work to play’ ensembles with panelled dresses and oversized blazers, ultra-chic in checks and shades of grey. For Cameo, it was all about the ‘Animal Queen’ with leopard prints on skirts and loose sweaters and a black faux croc skin mini dress worn by the radiant Montana Cox.
Men’s wear:
Jack London showed his signature slimcut jackets in gleaming fabrics. Calibre channelled relaxed weekend wear in a palette of dark greens, khaki and navy, bomber jackets and short trenches enhancing slim fit trousers. For ‘down time’, Industrie and Zanerobe did denim, in single, double, even triple equations.

FRANKIE RUNWAY 3
Review: Alexia Petsinis
With potted plants on the catwalk and rumours of deer Bambi making an appearance, the vibe was decidedly ‘fresh’. Alpha 60’s collection featured fine wool blend and heavy grade linen wide leg pants and oversized tunics in greys and creams livened with bursts of explosive coral orange. Tufted texture details appeared to grow from jackets and jumpers in a manner most intriguing. (So very Alpha.) Bul‘s offering was a nod to the tailored garment, but challenged the definition, collapsing loosely over the body in top and pant sets. The garment to watch for was an utterly chic rust red cape. Livia Arena combined various shades of pastel blue with black and grey on sculpted jackets, delicate shell tops and silky shorts. Gorman‘s crisp prints and washes of refreshing green and mandarin achieved a fine balance between slouchy linen and cotton casual wear blouses, with dresses and skirts of gathered silks for something a tad more swish. Jolet channelled ‘urban chic’ with key pieces of elongated proportions, including a sleek maroon overcoat that offset the collection’s skinny leg pants and form fitting dresses. Kuwaii’s ‘Paladian’ collection was a delightful fusion of the refined and the romantic; sheer panelling on skirts added delicacy to block colours of fuchsia, powder blue and black, neat tunics and dresses with an almost child-like simplicity. Short swing jackets featured 1960s rolled collars and wide lapels. Leonard St’s deer novelty print was the hero of a collection featuring casual blouses, loose jumpers and mini shorts, with a hooded green overcoat the ideal throw-on-throw-off garment for this season.

ELLE RUNWAY 4
Review: Alexia Petsinis
Bianca Spender’s blush and tangerine pairings were executed in faux leather, silk and wool, emphasising the clean lines of trench coats, midi skirts and wide leg pants. Working in the opposite aesthetic of sculptured silhouettes, Camilla and Marc featured a striking ox-blood print that appeared to pulsate through the folds of stiffly gathered dresses and flared bodices. High neck features on silk blouses also demonstrated a combination of fused structural elements and soft fabrications. The embossed and textural fabrics featured in Ginger & Smart’s ‘Anatomie’ collection emphasised form fitting silhouettes, sleek and moulded to the curves of the body. Panelled dresses were composed partially of printed areas, while leather and mesh featured in sleeve and pant details. A long sleeved digital printed dress appeared to vibrate with its tones of navy and cobalt, accentuating the garment’s classic cut. Kahlo, on the other hand, worked with modern shapes and cut outs, featuring what might be referred to as the ‘extremes’ of fabrication: leather, vinyl and mesh. Mid-riff cropped tops, wide leg pants and large pointed collars signalled a type of 1990s revival. YB J’AIME by Yeojin Bae was chic with ocelot prints on capri pants and blazers, tassel features flirting around the hemlines of pencil skirts and dresses. LIFEwithBIRD kept to neutral colourations while exploring angularity in stepped hemlines and bodice features. Similarly, Micheal Lo Sordo showed neck and bust lines with colour contrasts that rendered them as stark, positive and negative shapes. One baby pink and black number particularly, was a delicious meeting of innocence and vampish glamour.

 

COSMOPOLITAN RUNWAY 5
Review: Alexia Petsinis
A flurry of bold colour and vivid shapes flushed this catwalk; romantic florals modernised with a digital edge. Dainty dresses by Talulah came in punchy florals of mauve and lime green, with black underlays and sheer layering maturing otherwise flirty silhouettes. Cameo’s aqua botanical print – the ‘must have’ print of the season – went ‘zing’ against a classic cream base on jackets, blouses and harem pants. Another standout in the collection was a marl grey jacket with chic cream lining and jet pockets. Sleek and effortless. Finders Keepers rocked digital print for both placement and repeat effects on garments. Maxi skirts and bustiers were bold with forms of melting charcoal, balanced elegantly with blocks of black and light grey in jumpers and cropped jackets. Jaggar adopted the masculine forms of leather vests and slouchy tees; executed in army print to offer a rebelliously laid back approach to casual wear. Also watch for a black pleather empire line shift dress. A knockout. Jolts of that ‘so now’ cobalt showed up in Keepsake’s collection, appearing both in prints and as a feature shade on asymmetrical mini skirts and blouses. Dresses were white; composed of clean lines and feminine flouncy skirts. Rodeo Show also did digital with a series of galactic style prints livening wrap skirts and simple sleeveless dresses; a fresh mix of blue tones creating the perfect evening wear aesthetic. For Wild Horses it was all about rock chic; angular zip-through skirts and mesh bomber jackets with metallic trims exuded attitude and edgy charm. An oversized metallic sweater with contrast cuff details will rock with just about anything in a new season wardrobe.

Alexia Petsinis, Nenagh M., Simone Poole and Angeleah Anton, intern@voxfrock.com.au, with Janice Breen Burns, jbb@voxfrock.com.au and Terry Carruthers, info@voxfrock.com.au