The Graduate Show

The Cape Town Fashion Council presented a vast showcase of graduate talent from selected schools around the Mother City as the opening to the 2009 spring/summer shows. Running to nearly two hours of unstoppable, ambitious, creative design, there were some very strong trend messages coming through from the youth. Gold is very firmly the metallic accent of choice for the students, with significant detailing, styling and fabrication running through all the schools’ presentations.

With regards silhouette, the jumpsuit was the most popular choice, most of which were executed with the dropped crotch of the harem style. There were plenty of cropped jackets and a few tops, indicating that the dreaded 90s bare midriff is, indeed, back on the fashion agenda.

Ruffles were aplenty, lace was a strong inset trend and there was a surprisingly strong showing from the humble braces as both an accessory as well as integrated into garments as modern dungarees. Colour combinations seemed to rotate back to black as a basic. Gold and black, timeless white and black and this year’s version of the neon and black were the pairings most commonly seen. But grey was still a strong neutral on the day.

The fantastic show stopping collections from last year’s winners, in particular that from Lara Klawikowski, was an interesting exercise in contrasting the current crop of designers with what can be accomplished with an additional year of real-world training. It will be exciting to see what winners this year, Tina Swigwlaar, Cleo Droomer and Nadia vd Schyff, will be able to accomplish one year from now. It should also be said that the excellent jackets consistently produced from CPUT graduates were very impressive and a good reflection on the school and staff. Nice pieces like the pale blue boyfriend jacket from Robyn Amelia Caris, the reversible pleated/sequin skirt from Samantha Bailey, and the electric blue romper from Julie-Ann Donaldson also kept up our attention through the show.

Tarien Malherbe

This is the second fashion week collection by new young designer Tarien Malherbe. This time around she has opened our minds to the lure and attraction of this summer’s washed out, faded denim. Executed in gentle shorts, jeans and cropped trousers on both the boys and girls, this is a very welcome yet slightly challenging statement from an unassuming designer. And maybe this is the something to think about.

With a low key approach and design style, the casual basics and easy fit pieces were well executed and interesting. The men's wear was excellent, with slightly shorter shorts, wonderful slouchy wide leg and tailored slim leg trousers and a great pair of casual grey crops, the men's selection was diverse and exciting. A super navy bomber jacket and fun rusty velour jumper also added interest to the clothing for chaps. The construction was universally good - and the fabrication choices were solid. There was also plenty of charm in the women's wear with lovely muted colours and soft pastels, which were very cohesive. The only constructive notes would be that the next women's collection could benefit from a little turning up of the volume to bring some power and passion to the show.

Undacova

Bright, exciting, dynamic underwear and sleepwear from this debut label kept everyone on their toes during The Fresh Show on Day 1 of Arise Cape Town Fashion Week. With plenty of ‘80s strident pops of colour, like yellow, pink, purple, orange and blue, the collection had as much of the retro in it as it had the future of comfortable under garments. When amped up with leopard prints and clever phrases, these simple wardrobe essentials developed a clear personality and character.

With a heavy reliance on strong graphics in both the prints and the styling of these garments, Undacova has easily established a niche for their brand. My particular favourite was the ladies sleep shirt with a picture of Table Mountain and a “I love Slaapstad” swooshed underneath. Funny, cute and just a little bit cheesy, this is a very accessible and friendly choice for your smalls. Other graphic devises included Perspex cut-out neckpieces in the shape of Africa as well as a great tribal print on the garments. With such a clear international colour direction and design silhouette, it is great to see how this brand has translated this directly into an African aesthetic.

Black Coal

Designed by Pumeza Mekuto, the Black Coal collection was also presented as part of The Fresh Show on the first day of Arise Cape Town Fashion Week. Predominately executed in a soft denim fabric, the collection started off with some lovely earthy colours like the burgundy jodhpur with the cream buttons on the ankle and waist. Combined as most pieces were, with exciting, enhanced t-shirts, this early direction was evolved into the denim selection through the use of the ruffle.

White vests with asymmetric shoulder and collar ruffles provided interest and intrigue in the early part of this collection. Morphing into the front bib-ruffle and eventually into the dramatic peplum and frill denim skirt and top, the ruffle eventually became a frill nestling at the bottom of the long denim skirt that closed out the show. This was an intelligent use of a design device that flowed through the entire run of show, entirely on its own terms.

Doreen Southwood

Expecting lovely, pretty, girlie dresses, it was a shock to see Doreen Southwood’s spring/summer collection open with a slew of wet-look leggings and leg-coverings. In pitch black, the opening of the show featured oversized cowl necks and quite heavy coat fabrics – although including fine details like the bracelet sleeve on all of them. The black lightened slightly into navy, indigo and teal before fully embracing the summer through vibrant season colours like coral and dusty rose and nudes.

There were some great pantaloon-style shorts and high collars on the shirts. Style details like this ensure that the collection is an honest representation of the voice of the designer and the simple shapes like the pencil skirts and slim fitted – and cuffed – trouser make sure that there is enough room to be heard.

The oversized cowl neck reappeared later in the show in white, morphing into the popular snood – which is a part-hoodie-part-scarf creation that we expect to see on our shores come this summer. This was well picked up in the collection and demonstrated an understanding of both trend and local flavour. The collection finished up with a procession of lovely lady-like dresses in pale shades and often comprising many layers.

Sway

Originally a fabric printing operation, Sway has emerged as a popular local design house, marrying their unparalleled printing skills and concepts with some lovely simple jersey cotton pieces that make up an easy summer wardrobe in Cape Town. I am always charmed by the prints that they choose – whimsical, overtly kooky and often very beautiful, this year’s collection included the nationalistic South African king Protea flower, the wise old owl, some sumptuous looking fish, a full dress of bird cages, followed by the birds themselves in the progression of said dress.

But most popular from a print perspective was the abundant floral design motifs that dominated the summer frocks, as well as a super white-on-turquoise doily-type print that was quite successful on the t-shirts. Playing with the colours just a little, there was some clever use of edging, with red being used to finish a white print dress and cobalt blue prints providing a definitive conclusion to the sides of what looked like a pair of running shorts.

It is important that this label never looses their sense of humour because the joy of their contribution lies firmly in the way they communicate in their prints. Their intelligence is also evident as they layer print upon print, never pushing it too far. And when you have so much invested in this, maybe your silhouettes don’t need to get over complicated.

Misfit

Misfit made their local fashion week debut in a wash of gentle, muted colours. Nestling firmly in the palette of blush rose, nude, softest blues and graduated greys, this collection was staying true to its chilled out origins and quirky styles. The first third of the collection comprised lovely simple shift dresses and some layered vests and shorts, all mildly coloured and tenderly enhanced.

The second part of the collection was quite different. The switch to the black and the greys and the navy was cleverly echoed in a stark music shift. And on strode some black harem pants and a grey hoodie – albeit with an interesting drape cross front detail. The skull motif began to appear with more regularity in two forms – one was a print on the front of some t-shirts with a jaunty ribbon on its head. Later, the skull became more of a scribble-frenzy and shifted to the back of the jackets and tops on which it was printed. This was much more aggressive and offered a stark contrast to the washed out shift dresses.

Finally, the last part oft he show pulled the two elements together in print shirt dresses and black draw string silk dresses – combining the best of the two elements into a strong female dynamic that is quite appropriate for women's month.

Tart

Billed as a collection that would fill your holiday suitcase – ready for any eventuality – the new Tart collection certainly lived up to its hype and there were quite a few people in the audience that may land up doing exactly this before their summer holiday. With a combination of wonderful fine knits (especially the grey) and some shockingly bright and cheerful citrus silks, this collection was just as likely to take you dancing in the clubs as it was to serve you as you lay in the garden. With every piece a signature – racer back and cut out fronts and pockets on everything all being this label’s points of differentiation – this collection managed to be fresh and new, whilst completely retaining the brand’s integrity.

The collection opened deliberately with a cute take on the jumpsuit – white and harem-ed right to the ankle. And then it closed with an absolute summer 09 wardrobe essential – the black silk jumpsuit. This concentration on the jumpsuit has been coming for a few season’s and Tart’s refining process has produced possibly the finest example available in the local market. A sweet strapless cotton version was also in the middle of the collection and is likely to prove popular with the younger client.

New influx of colour and more use of silk has been a positive move forward for this young label. By keeping the colour blocked and on-trend for the season, this collection became a firm favourite.

Michelle Ludek

The thing you really noticed about this debut collection from Michelle Ludek was how much movement there was in her creations. Partly as a result of her fabrication – lots of silk and draped jersey – and partly as a result of her design, this movement is unquestionably feminine. While many rely on colour or detailing like bows and lace to attain a feminine aesthetic, this designer has mastered a much more subtle communication – one that allows for living comfortably, but without compromise.

Signature pieces like the flutter sleeve blouse – coupled with the white trousers – are great examples of this, whilst staying fresh for the season through the bold use of a kaleidoscope of citrus wash colour print. This same print was also executed in a lovely dropped waist maxi dress that would be perfect to take you in style from the pool to the bar on a lazy summer afternoon.

With white linen dresses and navy shifts being pumped up with gold edged medallion designs, there were some accessible frocks for the season, but the final grey colour story which included a great silk, wide-leg jumpsuit and a lovely strapless draped dress was the real winner of the collection.

LaLesso

The LaLesso team always ensure that the audiences at their shows have a great time. They play good music, their wonderful signature prints are light hearted and colourful and their styling is cute and quirky. This is girlie dressing up and it is jolly good fun for everyone. Having recently showed their new summer collection at Arise Africa Fashion Week, the collection we saw in Cape Town was simply the next step. No mess, no fuss, just an honest line extension.

Present was the slight 50s circle skirt, belted in at the waist and this time teamed with a very clean and simple vest tank. This is a popular look this season and it is good to see that they have picked it up off the streets in the northern hemisphere and reinterpreted it with their Kenyan print fabrics.

Present too was the proliferation of racer backs, handkerchief hems and open backs. These design elements have been present in all the LaLesso collections thus far. This time around there was definitely more emphasis on the maxi dress and it was fantastic to see the one-shouldered, evening version, executed as the final show stopper. On a day of very wearable, commercial, accessible clothing, it was fun to finish on a fully dressed-up note.

SUZAAN HEYNS

Day two of Arise Cape Town Fashion Week started out extremely well with an accomplished collection from fashion innovator, Suzaan Heyns. With the opening look a spot lit, stark white jacket with the most glorious peaked shoulders and button detailed waist, this collection was always going to be a statement of talent and flair, coming together with the unique idiosyncratic voice of this award winning designer.

With a narrative that flowed around the skill and craftsmanship of origami, this collection was simultaneously complex and simple. There was wonderful detailing in the folds and panels of the construction, while the palette was a plain selection of neutral black, greys and white. Later some dusty green and deep navy made guest appearances but the organic nudes and pale blues were the foil for the basic palette through most of the collection. And this was most satisfying.

I was particularly fond of the use of buttons, the intricate folding of the stiff fabrics and the jaunty head gear with which the collection was styled. The strong shapes were powerful in their austerity, although this should not detract from the quirky wearability of the collection, especially for men.

LUELLA SHOES BY DAVID TLALE

Let me tell you two things about David Tlale for free. One, this guy can design a run of show like no body’s business. In fact he is so good at it he should give classes to all fashion schools around the country and then maybe to some established designers. You will never watch a Tlale show and not witness a seamless progression of colour, design, narrative and style from beginning to end. He is the master. Secondly, it turns out that David Tlale can design a gladiator shoe that will stop traffic.

In his first collection of shoes with partner, Luella, David has managed to redefine the hit shoe of the summer, the gladiator. He has freshened it up, taken it to the extreme and reminded us of his flair and capacity for drama in the brilliant gold executions. Aside from the shoes, this cruise collection was devoid of signature drama. And this was exactly the right thing to do. By keeping the garments simple, with plenty of drape, movement and print excitement, the shoes were allowed to sneak in as a bit of a hero. This demonstrated a deft touch by the local fashion diva.

Fine meshing was the order of the day for fabrics – and this was light and ethereal and summery. However, it can be a tricky fabric to make look elegant. The white dresses with ruffles gave way to a gentle mocha and quickly into animal print, bronze and gold before finishing in black. There was lots of movement, a splash of gold and some diamante to finish. After all you can’t totally remove the bling from the boy.

CRAIG PORT

With demands high for a parade of buff boys, Craig Port delivered fair and square in his simple and elegant debut collection of monochromatic underwear. Nothing but great fit, fun details and am emphasis on shape, this collection was very competent. Also shown was a delightfully bright and breezy modern capsule collection of summer disco dresses for the ladies in the Miss Port line. Pink sequin cropped and strapless jumpsuit, a silver one-shoulder layered spectacular and a few tiny pink and purple satin mini dresses were the perfect selection for young girls to choose from when going dancing in the summer moonlight.

But, as usual, Craig's strength came through in his collection for the men. Simple shapes with interesting and unique points of interest mean that this collection is very accessible for a man that wants to communicate his own personal style. The pieces were modern, but mostly conventional – with the twist residing in the colour blocking or the layered tees or the slightly cropped trouser leg or the black shoulder holster detailing on the white shirt.

The accompanying shoe selection echoed the vibrant colour palette with purple, pink and green being the dominant foil to the black and white basics. These shoes are also a new line for Craig, who together with Watson, has produced a suitably brand-cohesive set of designs that are wearable, modern yet have a pedigree of class and tradition.

SOUTHERN SUM SWIMWEAR SHOW: LOVEWATERLOVE

This is the third collection of swimwear that I have reviewed from the design duo at LoveWaterLove, and each time they have demonstrated the desire and commitment to develop and grow their small brand. You would think that there is not much you can do in the confined space of swimwear, but so far they have raised the bar a bit more each time. This collection introduced men’s swimwear and included a lovely fresh nautical series as well as a flying flamingo print in two colour ways.

With regard silhouette, the label still allows much mixing of the tops and bottoms, but has also upped its quota of beautifully simple and elegant one-pieces. This, for me, is where they are showing their mettle as this is much harder to get right than a wisp of a string bikini. Especially since women often demand more from a one-piece when it comes to coverage and support.

Some fun leopard print pieces at the end in the bikini, the one-piece and the men’s brief – all trimmed in contrasting colour rich prints – was a great addition and the whole collection was enjoyable and demonstrative of an evolving line with more inherent longevity if continued in this pattern.

SOUTHERN SUM SWIMWEAR SHOW: DAX MARTIN

The unassuming Durbanite, Dax Martin, certainly turned the volume up on his swimwear designs for this second Southern Sun Swimwear Show. All executed in versions of inky, shiny black, this was a very grown up, adults-only approach to summer. No frills and flounces, no soft and summery colours, just deep, sexy, seductive black shapes wending their way across the bodies of the models.

Almost architectural in their design, the monokini dominated the collection. The excitement of seeing the next shape and cut out and sweep of fabric across the body made this a very compelling collection, and the addition of metal rings, a few strategically placed beads and a diamante or two ensured that this collection would be the first stop for a night-time pool party.

Also introducing a men's collection, Dax took a humourous approach with a couple of briefs and shorts styled with an accompanying belt and buckle boldly proclaiming the name of the designer in a very prominent position. Commonplace in women's sports wear, this tactic was fun to see when executed for men.

With some additional draping in gunmetal, shimmering grey in the middle of the collection, it closed with a return to some classic monokini shapes, simple and clean and striking.

SOUTHERN SUM SWIMWEAR SHOW: TRACY B

The final component of the Southern Sun Swimwear Show was provided by local designer Tracy B. And this collection had some really strong nostalgia tones for me. The golden crochet bra cups and the swirly purple patterns took me back to the ‘70s, while the white extra high cut leg one-piece and the neon pink colours was reminiscent of the ‘80s. And yet there were also some powerfully modern shapes that are unquestionably of right now.

A stand out piece was a purple and pink swirl monokini that started out with a one shoulder strap before swooping across the bust, down the side of the body and across the bottom. It culminated in a dramatic asymmetric square shape on the hip, linking the front and back together. It was exciting, sexy and fun – and a very clear representation of the old/new balance of the collection.

Most of the pieces were trimmed in gold and the swimwear was complemented by a capsule collection of ethereal zebra print – shot with gold - worked up into a kaftan or wrap. With turquoise, hot pink and yellow florals adding to the prints, there was never a dull moment in this collection.

MALICK

The final show of the second day of Arise Cape Town Fashion Week was in two parts – separate but unequivocally linked. The show opened with a small collection from Yuki, trained and mentored in the studio by Malick himself. There were some clear similarities in a few silhouettes, most notably the pink strapless Yuki mini dress with the cross draped overlay fabric and bubble hem that was seen in white with a jewel encrusted waistband in the full Malick collection. In pink, grey and purple, there were some quite successful cuffed shorts, metallic bustier minis with great hip pockets and a frill fronted trapeze dress from this young designer.

And then Malick himself set sail. With sumptuous beading, bustiers and ball gowns this collection was designed to offer a fantasy dress for any glamorous occasion. The opening set was all in white with wonderful silver jewel beading – from weddings to summer garden parties, there were dresses for everyone. And then the florals came out to inject even more sunshine into the collection. Finally the collection moved into dramatic black raw silk puff skirts and jet beading before settling into silver and gold, each combined with black for the most dramatic of the gowns seen this week.

CARDUCCI WOMEN

Every so often I have a moment that reminds me why I love fashion and tonight at Arise Cape Town Fashion Week I had just such a moment. It was subtle and black – always the best kind. Fourteen beautifully constructed, Chanel-esque little black cocktail dresses closed the Carducci Women’s collection, and every single one of them gave me a gentle kind of goose bumps. Simple, stark and yet created from the very finest fabrics, these dresses delivered a standard of quality that is almost never seen in South Africa. They were a triumph in the most unflashy way possible. The movement and bounce in the skirts was exquisite and the silk grosgrain ribbon finishes sweet and delicious. I loved them.

The rest of the show was a great example of a brand that delivers a high quality working wardrobe to women of South Africa. Setting the collection apart this year was an accessories line that included exotic skin handbags and shoes that complemented each look perfectly. I was particularly fond of the flat bronze pump, but the python court shoe was also very striking. Plaited and layered leather belts – some with multiple buckles - ensured a tightly waisted silhouette for the run of the show.

Francois Rall, the designer, has done a great job with this collection, and the styling of the show demonstrated how basic pieces can really shine. Turned up collars, rolled up sleeves, contrast tights and layered sleeve lengths all work well this season – my only suggestion would be to lose the sheer pantyhose next time to really refine the look for the modern woman.

GAVIN RAJAH

Gavin Rajah knows better than most how to put on a show. He knows what dazzles and what pops. He knows how to get a striking pose and an elegant picture. And he knows how to combine his materials, people, designs and sponsors to evoke a mood and an atmosphere that can render all inferior in comparison. Gavin must have learned a bit of this in his days as an usher at the theatre, but he probably learned most from his father, to whom this spectacle of fashion was dedicated after his recent passing.

Gavin must have seen a 80s teenage bedroom exactly like mine, with torn fishnets layered over other tights, a denim bedazzler and my pale jeans which I had set about with a razor. He certainly heard my mix tape with too much Madonna and a bit of Spandau Ballet. And yet all these references were repositioned with the unmistakeable Rajah flair that had nothing to do with my teen angst and everything to do with an accomplished, modern reworking of 80s triggers.

This new collaboration with Levis produced a more edgy and urban Rajah, which was a refreshing and interesting. It also inspired a particularly strong device which was the one sleeve popping up throughout the collection. I really liked this in all its incarnations from gold, beaded shoulder cap through to neon pink full length arm spikes. The later evening wear was as beautiful as ever, with sublime craftsmanship, exquisite beading and fabrication being its defining characteristic. If I had to pick one dress, it would be the grey gown with the feathered shoulders. It was just so pretty and everything that I never thought I could be back in the 80s. And realise now that I can.

FABIANI

The Fabiani story is a consistent one. Year after year they produce international quality, elegant men’s wear with some easy fit pieces, some fun colour and floral shirting, exceptional basics suits, the most modern of suiting accessories like pocket squares, cravats and braces, and finally, the Italian black suit selections that define the brand and keep customers coming back for more.

This year there was some good navy blue blazer action to add to the mix, especially when combined as it was with the bold red shirt and jeans for a striking, nautical-to-restaurant outfit. Colour ways this season relied heavily on shades of purple, with everything from lilac to strident plum popping up in the linings and the floral prints of the shirts. There was also some fun, on-trend, neon pops with orange, yellow and pink being favourites. The yellow cropped up again in the electric ties that were styled with the black suits in the final phase of the show.

I would have liked to have seen loafers worn with the chic pin striped suiting, rather than the high tops and patent lace ups as this would have been more modern. These suits were, however, executed in a lovely soft blue which was wonderful. This was a timeless collection that was beautifully encapsulated by the old geezer that took a turn down the ramp in some worn linens, tipped his straw hat at us and wandered back to take his place in the sun of summer.

STEFANIA MORLAND

What a glorious way to end the third day of Arise Cape Town Fashion Week, with a feminine collection of women’s and men’s wear executed predominantly in white and beige. With fabric flower rosettes in their hair and on their bodies, the ladies looked particularly good. A pale lip and mussed hair, the total appearance was innocent and girlie, for a collection executed in sumptuous fluid fabrics and simple design silhouettes.

The use of ribbons was beautiful and they appeared all over the place once you started looking – as a tie detail down the back of a shell top, as a trim on a sleeve, as a stitched down colour accent in lime or orange and as a cuff tie on more than one occasion. The ribbon is representative of women in a less automated, more craft-like time. The buttons used frequently also allude to a pre-industrial innocence and freedom. And the raw edges of a sleeve or a floral rosette kept the collection feeling organic and hand made, rather than mass produced and commercial. It also ensured that the voice of the designer was clear and easily identifiable.

While there were plenty of modern design styles, there was also a strong ‘50s influence in the cotton swimwear and full swing skirts with inverted pleating. I loved the white romper and the use of the Peter Pan collar throughout as this also harkened back to a simpler time. The splashes of chartreuse and electric blue did add dimension to the collection, as did the frothy tulle gowns, but the beautiful simplicity of the white cotton could not be surpassed.

KLûK CGDT

And so the final show of Arise Cape Town Fashion Week came to pass on a glorious Sunday lunchtime in the beautiful winelands of the Western Cape. And while the designers, Malcolm Klûk and Christiaan Gabriel du Toit had little to do with the weather, they did have everything to do with the stylish setting, the convivial atmosphere and the glorious gowns that were on show. Not everyone loved the idea of schlepping out there on a Sunday, but everyone who made the effort was delighted that they had. It was a wonderful off site show with class and elegance.

The early black and white story had lovely detailing, finishes and fabrication. The white short sleeve, double breasted jacket was a subtle gem, and the black silk wide leg trousers a personal favourite. But the pick of the lot was the spectacular ostrich feather organza coat – unique and very special. The detailing was immaculate as ever and the exposed zips, contrast trims and lace and sheer panel insets were all up to expected standard. And the introduction of the orange was an exciting and unexpected summer ‘10 twist in an otherwise toned down collection.

With every Klûk CGDT show you expect fantasy evening wear, and this was no different. With trims using pearls, sequin, beading, frothy tulle and a few feathers, the princess would not feel out of place at the ball in one of these gowns. The exquisitely opulent final gown featuring, what looked like granny’s antique lace table cloth, was enough to generate the first and only standing ovation of the week.