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Corrie Nielsen // Spring Summer 2013 // London Fashion Week
My love for Corrie Nielsen is both well known and well documented. In fact this season when I decided to relax and only seek out a few select shows her’s was at the top of my hitlist. Pattern cutting, history, innovation, raw talent and an ability to eke out an never before seen beauty from an over done theme are just some of the strings to Corrie’s bow.
Much as last season those not in the know withered at the thought of yet another “Scottish” show, the idea of something floral had the same effect. Another designer inspired by Kew Gardens. The thing is, anyone that’s followed Corrie (and that’s pretty much all my fashion friends) know she will surprise you with something you never knew you never knew. A fresh take that only her mind could generate.
The metallic silk was at once structured and flowing. The dresses no obviously tulip, or brash print but the inspired internals of the flowers themselves. The stamen, the sepals, and anthers shaped into something new. Speaking outside to Corrie’s PR I knew that she had been largely sustained by friends and family delivering food to the studio and literally forcing her to take a break to snack in the last few days. It’s not that she has poor time management it’s just so much goes into the creative process and that’s why we were all once again left in awe.
It may only be day one of LFW, but to be honest our jaded sides were already beginning to show as we queued. Snipping about those who should know better with standing tickets being in our way. So the gushing praise afterwards was even more genuine. Watching the show I get lost between taking images and mentally trying to rebuild the dresses. Frankly I dont know why I try. I’ve seen the patterns laid flat and they are a beautiful rubiks cube. A rubiks cube in silk, and print and dip dye, and, and, and.
I could go on and on, but I’ll let the images speak for themselves. It was however delightful to see Corrie play with colour and fabrication in a way we’ve not seen before. Giving her gothic undertones a lightness that carried the witness to another place. The historic references were of course still there but more subtle and in ways you needed to know a history of dress to spot. I never thought I’d see an elegant sack back dress, nor one that looked so modern. But I should have known Corrie better than that.
The rest speaks for itself.
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