KTZ S/S 2013 by Krister Selin
After the Felder Felder show I trekked from Somerset House to Goldsmith’s Hall over by St Paul’s to catch PPQ. As is standard, the PPQ show was massively oversubscribed and with the queue already blocking off streets I didn’t even bother to be turned away with my standing ticket. There was no way I was going to risk missing the mighty KTZ.
KTZ S/S 2013 by Gabriel Ayala
So I legged it to Somerset House like some sort of deranged fashion yo-yo and got seated for the action. Lida from The First to Know who handles KTZ‘s PR looked impeccable in one of their A/W 2012 creations with oversized gold religious emblems. As I waited for the show to start I fantasised about what we might see this season. From 1980s Memphis design to religion, via Africa, it’s been an ever exciting journey with Kokon to Zai and I couldn’t wait to see what they’d crafted this season.
All photography by Matt Bramford
When the pounding music started and the first model appeared I knew instantly that I wasn’t going to be disappointed. Slightly androgynous with a slicked back hair-do and loose pony tail that swished as she marched, the model wore a cropped lace shirt and intricate capri pants with cutaway details, accessorised with oversized pearl earrings and clutch bag. KTZ is one of those rare shows where the audience whoop and cheer at every look.
KTZ S/S 2013 by Krister Selin
The KTZ aesthetic came shortly afterwards, with a model sporting a baseball cap in an intriguing lace full-sleeve dress and a face mask akin to something worn by a very, very fashionable surgeon.
The aesthetic structure of each garment had been inspired by the intricate delicacies of Art Nouveau patterns, in particular William Morris; classic cuts transformed by the whiplash motifs of the era and the fluid, organic lines that differentiate Art Nouveau from other movements. These were expertly applied to the fronts of corseted frocks and the hemlines of short, circular skirts.
The colour black featured heavily as is pretty standard at a KTZ show – translucent tops with thick, black Art Nouveau-inspired embellishments and thigh-high boots in patent leather, teamed the KTZ with huge gold logo accessories, such as an epic bracelet that enveloped the full length of a model’s arm.
Now I would normally say that if you’re a fan of cutesy florals on feminine dresses, steer well clear of KTZ. While that’s still strictly true of this fantasy label, we were then treated to some feminine shapes with sculpted upper halves and playful bulbous skirts. It allowed me to think that this might almost be wearable by people other than Rihanna and Will.i.am.
KTZ S/S 2013 by Gabriel Ayala
Welcomed bursts of colour began to fill the catwalk: a peach tone not seen since 1980s bridesmaids dresses that worked effortlessly with this monochrome-heavy collection, and an effervescent green number for good measure seemed a bit of an odd choice, but if KTZ ever become predictable I’ll stop bloody going.
The detail, craftsmanship and translation of a theme was simply awe-inspiring and rendered me breathless in under 12 minutes – a sensation I sadly haven’t experienced in a while.
Long may KTZ reign!
Categories ,1980s, ,Art Nouveau, ,Bridesmaids, ,Gabriel Ayala, ,Harajuku girls, ,Kokon To Zai, ,Krister Selin, ,KTZ, ,lace, ,London Fashion Week, ,Matt Bramford, ,Peach, ,Pearlescent, ,S/S 2013, ,Somerset House, ,SS13, ,William Morris, ,Womenswear
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