Erdem S/S 2015

There was a time not so long ago when buyers flocked to London to fill their order books with the city's plethora of digital prints. However, given the natural evolutionary state of things, it seems fair enough to say that we are now in the advanced stages of phase two: an equally enticing embroidery epidemic. Rather than pixels, London's design stars are painting with texture, and none more poetically than Erdem Moralioğlu. Set against a tropical forest of purple-tinged foliage, the designer looked to Victorian biologist and explorer Marianne North as a springboard, transporting fern frond emblems onto his decadent plunge-necked dresses, lined with tiny 19th century button loop holes and tied with delicate spaghetti straps at the shoulder. The procession of tiered, calf-length gowns that followed were born from an undulating line-up of either thickly-worked guipure or the most fragile of fine needle lace - the latter sporting high collars and ruffles much like Victorian undergarments. But it wasn't only needlework on parade: Moralioğlu added raw-edged tweed and print in the form of softly ruffled tea dresses back into the mix, before texture flew in the window with an aviary's worth of feather work in exotic hues of midnight green and blue. His models' long, solitary braids and tattoo-like, flat lace-up Nicholas Kirkwood gladiator sandals, only further served to seal the performance's couture-weight spectacle.

There was a time not so long ago when buyers flocked to London to fill their order books with the city's plethora of digital prints. However, given the natural evolutionary state of things, it seems fair enough to say that we are now in the advanced stages of phase two: an equally enticing embroidery epidemic. Rather than pixels, London's design stars are painting with texture, and none more poetically than Erdem Moralioğlu. Set against a tropical forest of purple-tinged foliage, the designer looked to Victorian biologist and explorer Marianne North as a springboard, transporting fern frond emblems onto his decadent plunge-necked dresses, lined with tiny 19th century button loop holes and tied with delicate spaghetti straps at the shoulder. The procession of tiered, calf-length gowns that followed were born from an undulating line-up of either thickly-worked guipure or the most fragile of fine needle lace - the latter sporting high collars and ruffles much like Victorian undergarments. But it wasn't only needlework on parade: Moralioğlu added raw-edged tweed and print in the form of softly ruffled tea dresses back into the mix, before texture flew in the window with an aviary's worth of feather work in exotic hues of midnight green and blue. His models' long, solitary braids and tattoo-like, flat lace-up Nicholas Kirkwood gladiator sandals, only further served to seal the performance's couture-weight spectacle.

There was a time not so long ago when buyers flocked to London to fill their order books with the city's plethora of digital prints. However, given the natural evolutionary state of things, it seems fair enough to say that we are now in the advanced stages of phase two: an equally enticing embroidery epidemic. Rather than pixels, London's design stars are painting with texture, and none more poetically than Erdem Moralioğlu. Set against a tropical forest of purple-tinged foliage, the designer looked to Victorian biologist and explorer Marianne North as a springboard, transporting fern frond emblems onto his decadent plunge-necked dresses, lined with tiny 19th century button loop holes and tied with delicate spaghetti straps at the shoulder. The procession of tiered, calf-length gowns that followed were born from an undulating line-up of either thickly-worked guipure or the most fragile of fine needle lace - the latter sporting high collars and ruffles much like Victorian undergarments. But it wasn't only needlework on parade: Moralioğlu added raw-edged tweed and print in the form of softly ruffled tea dresses back into the mix, before texture flew in the window with an aviary's worth of feather work in exotic hues of midnight green and blue. His models' long, solitary braids and tattoo-like, flat lace-up Nicholas Kirkwood gladiator sandals, only further served to seal the performance's couture-weight spectacle.

There was a time not so long ago when buyers flocked to London to fill their order books with the city's plethora of digital prints. However, given the natural evolutionary state of things, it seems fair enough to say that we are now in the advanced stages of phase two: an equally enticing embroidery epidemic. Rather than pixels, London's design stars are painting with texture, and none more poetically than Erdem Moralioğlu. Set against a tropical forest of purple-tinged foliage, the designer looked to Victorian biologist and explorer Marianne North as a springboard, transporting fern frond emblems onto his decadent plunge-necked dresses, lined with tiny 19th century button loop holes and tied with delicate spaghetti straps at the shoulder. The procession of tiered, calf-length gowns that followed were born from an undulating line-up of either thickly-worked guipure or the most fragile of fine needle lace - the latter sporting high collars and ruffles much like Victorian undergarments. But it wasn't only needlework on parade: Moralioğlu added raw-edged tweed and print in the form of softly ruffled tea dresses back into the mix, before texture flew in the window with an aviary's worth of feather work in exotic hues of midnight green and blue. His models' long, solitary braids and tattoo-like, flat lace-up Nicholas Kirkwood gladiator sandals, only further served to seal the performance's couture-weight spectacle.

There was a time not so long ago when buyers flocked to London to fill their order books with the city's plethora of digital prints. However, given the natural evolutionary state of things, it seems fair enough to say that we are now in the advanced stages of phase two: an equally enticing embroidery epidemic. Rather than pixels, London's design stars are painting with texture, and none more poetically than Erdem Moralioğlu. Set against a tropical forest of purple-tinged foliage, the designer looked to Victorian biologist and explorer Marianne North as a springboard, transporting fern frond emblems onto his decadent plunge-necked dresses, lined with tiny 19th century button loop holes and tied with delicate spaghetti straps at the shoulder. The procession of tiered, calf-length gowns that followed were born from an undulating line-up of either thickly-worked guipure or the most fragile of fine needle lace - the latter sporting high collars and ruffles much like Victorian undergarments. But it wasn't only needlework on parade: Moralioğlu added raw-edged tweed and print in the form of softly ruffled tea dresses back into the mix, before texture flew in the window with an aviary's worth of feather work in exotic hues of midnight green and blue. His models' long, solitary braids and tattoo-like, flat lace-up Nicholas Kirkwood gladiator sandals, only further served to seal the performance's couture-weight spectacle.