Eftychia Fall 2022 Ready-to-Wear Collection

In a London time bristling with performative phenomena embodying generational values—to admiringly mangle Anders Christian Madsen—this Eftychia assortment felt ironically like a tantalizing outlier. For not due to the fact Paula Gerbase’s sadly-evaporated 1205 has London revealed a startup feminine-built womenswear manufacturer rooted in a deep know-how and appreciation of tailoring.

Eftychia Karamolegkou has understandably been working through a experienced existential disaster of types, given that her brand’s original focus was do the job/organization attire and the bottom fell out of that sector throughout the pandemic. She sprinkled in softer parts all through the past handful of seasons, and right here yet again there ended up silk satin slip attire and skirts aplenty in a dedicatedly brown-dependent palette with occasional gulps of pale yellow and cream, at times performed versus panels of velvet. These tended to be strafed by sutures executed with rouleau loops and mom of pearl buttons to build a what-lies-beneath dialogue of floor with area.

In her notes Karamolegkou claimed the selection, named Unfathomable Lights, was encouraged by the depths of the ocean: it would have been appealing to also see some colours drawn from the surface—something a minimal punchier—applied to these complex softer parts. As for the tailoring, backstage the designer indicated the resolution of her meaning-of-tailoring disaster was to look at this assortment as “casual night don.”

That tailoring, which riffed inventively on the hoary outdated menswear tuxedo, was clever. The shtick was to take common components of evening wear—such as the satin faux-regimental facet stripe and the satin lapel—and then set them via a mixer: the aspect stripes have been moved to the entrance of the leg, creating a flatteringly elongated impact, even though the flashy satin lapel was broken up and slimmed down in panels resting alongside wool. There was what looked like an adapted shortened Chesterfield that took that style’s velvet collar and prolonged the velvet to act as pocket flaps. The silhouette was flattering and mature: low suited jackets above pleated tapered trousers. A curving vector that ran from armpit to hip through collar and skirt on double-breasted jackets was significantly classy, and mirrored the curve of all those buttoned sutures. There have been also some handsome high-waisted Nehru collar jackets, vaguely regimental once more. All of this was worn versus vintage boots and menswear shoes that are portion of Karamolegkou’s personal assortment. Complex, considerate, and excellently executed, this was a refreshing recalibration of tailoring’s traditional—and tangled—role as the uniform of empowerment.