March 17, 2017
Meet Voxfrock Rookie Anastasia McInerney, a third year RMIT journalism student who is also juggling shifts as a VAMFF volunteer this week. Goddess only knows how she fit three runway reviews into her dawn-to-dark days, but she did. And rather adeptly and evocatively too, we hope you’ll agree.Anastasia says she aims to challenge perceptions of fashion’s frivolities in her writing by, “Creating considered and thought provoking dialogue, with the odd preach about a pretty dress sprinkled in.” In her spare time, Anastasia says she can often be found, “dawdling around magazine stands, eating ice-cream at any hour of the day, dancing in the supermarket, on the dance floor, and alike, and sharing a (skinny, extra hot) chai latte over a conversation with her friends.”
WORDS: ANASTASIA MCINERNEY
PHOTOGRAPHS: LUCAS DAWSON
DAVID JONES GALA RUNWAY. What a better way to celebrate VAMFF’s milestone birthday. The David Jones opening Gala propelled Melbourne’s reputation as the fashion capital, supported Australia’s golden greats, and celebrated what it means to be a woman, and a man, in this revolutionary fashion landscape.
Model Jessica Gomes’ opening look set the tone: Ellery’s red cropped jacket over a white shirt, styled against a black midi skirt with a white pleated hem. Powerful, modern, and the nod to femininity didn’t stop at scarlet. Sweeping frills came next, floaty sleeves, moody florals, lace, satin, velvet; what more could a woman in charge of her own femininity possibly ask for?
Tactile fabrics such as satin in burgundy, blush and moss, and velvet in buttery mustard and gunmetal grey. Belted waists grounded voluminous fabrics and created power in suit dressing.
VAMFF National Design Award winner, Kacey Devlin’s debut sat neatly among David Jones’ other picks. Relaxed tailoring, paired with fluid, long layers, drew eyes downward and created illusions of extra height.
Among key accessories, the usual players were updated. Transparent, red-banded umbrellas were all-seeing statements. Floral headscarves, tied under the chin were glamourous protection for newly done dos. Thigh-high boots were cool in grey suede. Miu Miu-esque jewelled sunglasses were paired with (Pat McGrath-inspired) red and purple glitter lips.
Romance Was Born’s finale epitomised the season’s top picks with all the symbolism of an Australian runway, with an aura of life well travelled: frills galore, red lace, blackened florals and unique prints featuring owls and galahs.
PREMIUM RUNWAY 1. What do you expect from a runway presented by Vogue? Spotlights and Madonna’s own salute to the famed publication, no doubt. Hand gestures optional. Scanlan Theodore opened the show with recognisable winter weights; black furry cardigans, heavy check and belted parkas. Throwing some caution to icy winds, the collection also featured an of-the-moment floral embroidered jacket.
Bassike boasted easy, transitional pieces, perfect for an interchangeable wardrobe. Hints at relaxed tailoring lay in loose separates, while denim was paired with tailored jackets for a work-meets-play vibe. Albus Lumen’s collection was that of the traveler, city or sea, not quite ready to shake off warmer weather. An open weave, fishermen’s net bag set against an emerald suede playsuit cemented summer styles for the winter season, while a cotton kaftan-style dress remained fresh with a lace up front, complete with alternating black and tan laces.
The collection from Strateas Carlucci verified a state of undress as the new way to dress. A maxi slip dress, a coat strewn over the arm and a printed jacket (with little underneath) gave the illusion of living out of a suitcase. In the chicest way.
Making a case for interesting staples, Christopher Esber showed layered dresses, mimicking a satin slip overlaid with a contrasting texture. But it was the printed bags that really played up looks, offsetting black and white.
Bianca Spender proved that fashion no-gos are the new go, marrying navy and emerald to create the season’s ultimate power couple. A burnished red velvet suit blazed down the runway, softened by a peach velvet dress and equally refreshing grey fur sleeved coat. But this collection was nothing dainty, with knotting, scrunching and belting throughout.
KITX’s standout collection mixed emerald satins, pre-weathered tan coats with creamy, button down dresses, making lessons in draping with sleeves inches past the wrist. Marie Claire fashion editor-at-large, Clare Press, favoured the designer’s “absolutely original, fresh and exciting, skip-in-my-step” approach to sustainability. “Kit is really the only person in Australia who’s transitioned from a high fashion designer, producing conventional collections, into one that is specifically all about sustainability, deeply entwined in its DNA,” said Press. “I enjoy the potential for a trickle down effect, that when people in the audience see what Kit can do- and how she can make ‘sustainable’ fashion very glamourous- that its got to be the way forward.”
PREMIUM RUNWAY 2. The emeralds, blacks and maroons of previous runways lay the path for, hold your breath, COLOUR. In winter. A shocking thought perhaps, but it was this show that injected a playfully youthful noteo into VAMFF’s runway series.
It’s time to ditch the black in favour of Kaliver’s blush coat, complete with contrasting baby pink pockets and lapel. The collection’s royal blue sat coolly against reddened leather and crimson velvet.
Bec & Bridge made way for another revolutionary duo beginning with the second letter of the alphabet. Checklist this; blush and burgundy.
But it was Michael Lo Sordo’s collection (main picture, top) that dominated the runway, and no doubt had audience’s questioning everything they knew about colour pairings. His lime green velvet, glowing radioactive on the runway, brought a shockingly tasteful neon into the mix. Accompanied by sky blue and blush in criss-crossed strapping, it softened to become an alluring detail on the back of a silk slip dress.
Anastasia McInerney, email@example.com