#gailsorronda

[hairstylesdaycom]

Liked these nails and luminous mermaid-esque pores and skin at (hair not but finished)… Liked these #cnd nails and luminous mermaid-esque pores and skin at #gailsorronda #mbfwa (hair not but finished)

[valflynn]

Congrats to our brissy gal @gailsorronda || #TYSONANDPEPPA #MBFWA #MBSTYLE #GAILSORRONDA #ALWAYSTRENDING #SS15 (at www.tysonpeppa.com)

[cartial]

Final night of MBFF #gailsorronda #outfitpost #ohmy

[oneporktaco-blog]

rafw: gail sorronda

(images via vogue)

although past seasons (see s/s 2010 & s/s 2011) have found me utterly blubbering with glee over australian designer gail sorronda's artfully dark take on black and white dressing, which usually manifests in her girls looking rather like slightly sinister porcelain collector's dolls come to life, i was left a little perplexed with her s/s 2012 effort, as presented in sydney.  titled 'oh my goth,' it felt a little more like what, say, the brazilian label neon would have had to say about the subject than ms. sorronda as we (perhaps thought) we knew her.  and i know, maybe that's called 'evolution' of design.  but i'm going to protest i miss the latter-day colour-stripped girls of yore. 

in their writeup on the subject, breakfast with audrey stated that "Gail brings quirky from the catwalk to the sidewalk in her Charlie Chaplin inspired collection that is as if one of Chaplin’s old school black and white movies has been Willy Wonka-fied with an explosion of colour. Intricate and unusual headpieces...Bright polka dots, sheers and exquisitely crafted textures made up much of the collection and the splashes of colour were a refreshing direction from the usually monochromatic designer."  so i suppose we're going to have some fans of the range.  and that's okay.  maybe i'm just missing something, or quite simply too narrow-minded.  maybe. (or maybe not!  i had to add it!)

and of course, the australian website fab sugar was predictably enthusiastic, describing how "(s)taged at The Box on site at the Overseas Passenger Terminal, media filed into the darkened room, drinking in the super-saturated hues and bold prints as models stood still on podiums. It was more presentation than catwalk show, but Gail's sense of theatrics remained: large-scale retro-inspired graphics, exaggerated flared trousers, tiered chiffon dresses and elaborate floral motif headpieces, earrings and chokers brought the glamour. There were still some monochrome — black was the base colour for this creative but femme collection."

but on the other hand, my perspective got a little bit of a what-what from little black book, stating that "(b)est described as romantic goth meets quirky circus, Oh My Goth explores the whimsical nature of fashion through colour....I really enjoyed this collection, though personally wouldn't wear the bright pieces I can admire its quirkiness and the fun nature it brings to fashion."  and finally, as regards the show's beauty, bella sugar noted that "Bec Prior...was inspired by the 1920s when creating the slightly dark and quirky makeup look...It focused on a statement lip that looks as though it's smirking. Faux lashes were also used to balance the look and again emphasise the doll-like feel of the entire look. Jon Pulitano [the lead hairstylist was] inspired by 'old world charm,' Pulitano created 'wraps around the contour of the models' heads' that were similar to wig caps."

(watch a brief collection video here)

[oneporktaco-blog]

rafw: gail sorronda

(images via fashionising)

gail sorronda's s/s 2010 show represented one of the absolute highlights of my rosemount australian fashion week for that year, so during the s/s 2011 shows, i was practically giddy to be introduced to the designer once again.   thus, you can imagine my glee (sounds like someone cackling in a corner, alone in the dark) when her work proved to be not only equal to that of a year ago, but likely superior to it. 

titled 'stem the flow' the site the vine explains that "(d)esigner Gail Reid refuses to work within trends, instead she works by evolving her own aesthetic - only ever in a palette of black and white -season to season, carefully building on previous concepts and styles, while introducing new elements each time.  Reid has an analytical and highly conceptual approach to design, explaining backstage that her inspiration for the collection was 'fluidity suspended in time.'" 

""I worked with a lot of circles, and tried to interpret that in different ways like gathering.  I wanted the whole collection to have a bulbous silhouette," the designer added, explaining one of the major bits of her range (and evident in the hats and full cuts of skirts and dresses).  play with volume, draping, sheers, pleats, and cut-outs were also key, and many of the pieces had plenty of asymmetrical gathers, rather charmingly resembling garments overburdened with too much fabric. 

there is something of a 'little girl playing dress up' aesthetic in every collection ms. reid presents, with the present one no exception, not the least because of that last fragment of sentence above.  additionally, the metal facial artwork (what exactly should i call it?  see below) at first--and still strongly upon further examinations--connoted headgear connected to braces.  when paired with the sweet, broad little bonnets, short and swingy hemlines, dainty little ballet flats, and give from plenty of room in the dresses, the images were reinforced all the more. 

the show's makeup looks were created by napoleon perdis, with bella sugar reporting that the lips were a holdover from the karla spetic show (frankly i'm not seeing it; here they seem completely pale, while there they are a pouty terracotta) and teamed "with a graphic, white brow" that seems to draw some inspiration from the film 'barbarella'. 

lead hairstylist brad ngata working for l'oréal professional, on the other hand, told bella sugar he was opting for a "minimalistic, kooky kind of [hair] look."  as the site explains, the style strikes the viewer differently depending upon the angle and is a "dual-textured style with a matte, texturised top and sleek ends, but the focus is in the finishing touches — the ribbon tie, which pulls the hair in around the neck and the large, white bobby pins that mirror the statement brow."