Designer Dilan Lurr declared this season his tabula rasa by digging through a treasure trove of historical references and filtering them through a futuristic lens.
He pulled in Asian and Greek references in shapes and draping, mini-tunics over trousers and fuzzy floral knits with protective arm overlays. Japanese style geta shoes met slashed-up sweaters with removable arms; clingy bodysuits were topped with oversized blazers.
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Outerwear had light militaristic touches, embodied in a leopard print coat with a single broad lapel that read as a sash, or a gray coat banded with contrasting straps. Traditional silver jewelry served as chains over conservative button-downs. Raffia hats came from Madagascar.
It was a cultural smorgasbord. The Kurdish Swedish designer looked to his home country of Iraq and the ethnicities that have occupied the Middle East over time.
The collection is a reflection on imperialism without judgment, he told WWD backstage after the show. “Today we live in a world where we are getting bombarded with different images, different information everywhere, always,” he said. “What I’m stressing with my background is that it’s the same thing, but it has just been stretched over the history of time. Everyone has left their traces in the area one way or another, so it’s looking at it from a different perspective.”
He’s careful not to get caught in the past with anything too prosaic, experimenting with rubberized smocks and cuts with sleeves that bind the arms to the body, cocoon style. It all played to a discordant soundtrack from Thomas Artiguenave. Lurr balanced the dissonance.
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