Mellinda-Mae Harlingten, Lucian Matis, Afshin Feiz
{FASHION WEEK SPRING 2009 TORONTO}
By Sarah Nicole Prickett
Vancouver’s Mellinda-Mae Harlingten just showed her sixth season of cute ultra-basics, so someone must be buying them. They’re certainly wearable.
For Spring 2009, key pieces included pale-hued slip dresses, slim pants and Bermudas in muted mauves and taupes and a couple of sharp olive-green jackets. Flared trousers and fitted vests, some in dusty pink plaid, looked more ’90s than ’70s—and not the good ’90s, either. Harlingten stepped it up from her usual soft jerseys, using pastel silk georgette for party minis and prairie dresses. All of it was shown Pocahontas-style, with feathers tied to models’ heads. And after taking an extended bow, Harlingten was upstaged by a random half-naked dude in a full-on headdress and gold leggings—immediately, unfortunately, the most memorable thing about her show.
Lucian Matis fancies himself the Alexander McQueen of Toronto, which gives him loads of poetic license to play with in his unapologetically romantic collections. In my notes from his Spring 2009 show, every other word appears to be either “ruffled” or “embellished.” Giant question marks also make several appearances, most notably in reference to a bum-baring slit on an otherwise lovely lemon pencil skirt. Categorized under “things I could imagine someone I know wearing” were nice wide-leg trousers in a hot orange-red satin (not so hot, however, with a sage green tank) and an ombré shift detailed with rectangular pleats. One mini-dress, covered in blush and beige silk squares, some plain, others seed-beaded and sequined, looked like a walking flipbook of fabric swatches. The audience burst into applause; I scribbled more question marks. Much nicer was a pleated jersey shift in palest pink, with pearls restrained to three buttons on the back of a halter neck. Beautiful, too, were the overblown, super-pixilated floral prints—even if Erdem did them better—that wowed in the form of a strapless, bow-tied ball gown. Too bad Matis didn’t end on this high note. Instead, he trotted out a tarted-up wedding dress that looked better suited to the girl jumping out of the cake than the one slicing into it. Sorry, but Alexander would not approve.
Watch our runway video and interview with Lucian Matis.
This year, The Studio—a new, more intimate space for emerging designers—proved that when it comes to the runway, bigger isn’t always better. In fact, Afshin Feiz was one of the very best, closing out The Studio in style with his first-ever, by-invite-only Toronto show. Inspired by Buddha’s Silent Sermon, Feiz was preaching to the converted: the over-capacity crowd was electric with fervent whispers of his celeb appeal (Katie Holmes and Beyoncé have worn his clothes) and international acclaim. The designs spoke eloquently for themselves. Weightless chiffons and satins were anchored by silver chains, first dainty and interlaced with swirls of tiny ruffles, then heavier, more Balmain-esque, tracing sensual cut-outs or lending spine to bare backs. Dresses and chemises came in petits fours colours (buttercream, mint green, powder pinks and blues), pure white and cream, and a warm tea-stain beige. Negligee-inspired dresses had tiny covered buttons and tiers of silk crepe; a so-seventies gold mesh jumpsuit was placketed with dove-grey ruffles And all that super-femme romanticism found a welcome counterpart in boyfriend blazers and perfectly slouchy, pleated trousers—this working girl’s favourite look for spring.
Shown: AFSHIN FEIZ Spring 2009. Photography by Jess Baumung
MELLINDA-MAE HARLINGTEN | LUCIAN MATIS | AFSHIN FEIZ | DAY 5: PART 3
| DAY 5: PART 1
 and an ombré shift detailed with rectangular pleats. One mini-dress, covered in blush and beige silk squares, some plain, others seed-beaded and sequined, looked like a walking flipbook of fabric swatches. The audience burst into applause; I scribbled more question marks. Much nicer was a pleated jersey shift in palest pink, with pearls restrained to three buttons on the back of a halter neck. Beautiful, too, were the overblown, super-pixilated floral prints—even if Erdem did them better—that wowed in the form of a strapless, bow-tied ball gown. Too bad Matis didn’t end on this high note. Instead, he trotted out a tarted-up wedding dress that looked better suited to the girl jumping out of the cake than the one slicing into it. Sorry, but Alexander would not approve.
Watch our runway video and interview with Lucian Matis.
This year, The Studio—a new, more intimate space for emerging designers—proved that when it comes to the runway, bigger isn’t always better. In fact, Afshin Feiz was one of the very best, closing out The Studio in style with his first-ever, by-invite-only Toronto show. Inspired by Buddha’s Silent Sermon, Feiz was preaching to the converted: the over-capacity crowd was electric with fervent whispers of his celeb appeal (Katie Holmes and Beyoncé have worn his clothes) and international acclaim. The designs spoke eloquently for themselves. Weightless chiffons and satins were anchored by silver chains, first dainty and interlaced with swirls of tiny ruffles, then heavier, more Balmain-esque, tracing sensual cut-outs or lending spine to bare backs. Dresses and chemises came in petits fours colours (buttercream, mint green, powder pinks and blues), pure white and cream, and a warm tea-stain beige. Negligee-inspired dresses had tiny covered buttons and tiers of silk crepe; a so-seventies gold mesh jumpsuit was placketed with dove-grey ruffles And all that super-femme romanticism found a welcome counterpart in boyfriend blazers and perfectly slouchy, pleated trousers—this working girl’s favourite look for spring.
Shown: AFSHIN FEIZ Spring 2009. Photography by Jess Baumung
MELLINDA-MAE HARLINGTEN | LUCIAN MATIS | AFSHIN FEIZ | DAY 5: PART 3
| DAY 5: PART 1
FASHION WEEK | SPRING 2009){kind=link}