Photography by Magdalena Golembiewska
Nightmares and hell; the destruction of Inbar Spector’s hometown from fire. The designer’s themes hung bleakly over the vestibule venue – an aptly dramatic space. Haunting classical music set the tone as the first model glided through the room. 

Heavy black and gold brocade-like jackets set the exaggerated period silhouette. Geometric pattern cutting filled the sleeves out at angles, or in layers like an armadillo’s armour. Zips cut through the seams, encircling the pieces, while frayed edges and trailing threads set violent undertones. A prolific use of tulle held a punk aesthetic, mimicked in the wild mohawks atop the model’s heads. Tutu like the tulle peeked out beneath the gothic jackets, or formed entire frothy dresses.
 
On a deep green long sleeved dress, the tulle had been laid over a matching green lace, acting as an aura and cementing the other-worldly, dream like feel of the collection.
The violent themes were most notable in slashed tulle dresses: the net pulled in strips over the model, wrapped like bandages and knotting into a skirt. A sheer white angelic net dress hung in ripped pieces over the torso, yet finished in a heavenly honeycomb construction of tulle. A textural, voluminous fantasy.
 
Intricately laser cut faux leather formed the basis of many dresses: the perforations reminding me of bullet holes. Like the foreboding ironwork of hell, it peeked ominously beneath heavenly tulle froth.The ghostly tulle imploded into a mesmerizing gown at the collections close: the complex honeycomb construction grew exaggerated over and around the model. It seemed its own creature, pulsating.

A faux gold leather dress followed, to rousing applause from the audience. The laser cut fabric morphing into a skirt of the same honeycomb construction. It moved out of time with the models steps, monstrous and creature like, but heavenly. Awe-inspiring.
 

Text: Natasha Slee

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