#klukcgdt

[rodankanehart]

Klûk CGDT commission. Balustrade for 43 - 45 Bree Street. Mild Steel & Paint. 17000mm x 500mm x 100mm. July 2014. . Images courtesy of WHATIFTHEWORLD / GALLERY & Hayden Phipps. www.klukcgdt.com

[oneporktaco-blog]

safw: kluk cgdt

(images via elle)

so honestly, before we dive into all of this discussion, i'm just going to admit it doesn't all make that much sense to me.  so. the house of kluk cgdt (we've seen them once before, during the s/s 2012 season) showcased their s/s 2013 range, like, practically everywhere in africa over the course of the past few months, and while i'm rather confused at some of the stagings, and the fact that the pieces seemed to change a bit, they're all branded as the same, season-specific collection.  thus, i'm going to see it as such, and assume that the inspiration is the same, at least, even if they made tweaks to some of the entry pieces. so you'll forgive me if it's sampled from various places (or correct me if you know better).

anyway, we'll be focusing on the south african fashion week exhibition, which is probably appropriate, considering that the atelier's designers, malcolm klûk and christiaan gabriel du toit, are from johannesburg. so.  for this spring, the brand called their range 'bedtime stories,' with haute fashion africa explaining that we saw  girls "modelling the most cherished memories from the 50s; Gingham and Lace – Though lace, yet demure, setting the mood for a dreamy atmosphere...Embellishments, floral work, silk and lace started off the collection; you could spell out luxurious with each emerging model, styling of the pieces made our hearts melt e.g pairing embellished bustiers with paper bag shorts. It was indeed lovely to see funnel sleeves and sweetheart necklines again. Lace overlaid on silk, canvas paint work and a belted kimono exuded well-thought craftsmanship."

"It was impossible not to be mesmerized by the next sect, marrying tones like teal and neon was a union like none other. Also embracing the 20s trend, Kluk unveiled models donning thin straps, exaggerated fur, maxed maxis, lady trouser suits, high necklines and a few plunging necklines here and there. Embellishment on sheer and fringing [Ethnicity aside] to round off the non-bridal bit of the collection; this featured light greys and cream – never have we seen anything so dreamy and romantic with a contrast of dark romance music blaring out in the background, delicate sheer and chiffon meet silk in evident ground breaking tailoring coalition," they continued.

elsewhere, the blog all things fashion africa chimed in that "(t)heir signature aesthetic shined through with their focus on feminine silhouettes constructed from luxurious fabrics, with an obvious nod to silhouettes and details from the 20's and 40's in their day wear looks. In the more elaborate evening wear and bridal wear, they just did their thing - and it worked. Metallic brocades, watercolour floral prints, jewel-like embellishments and the harmonious use of structured, tailored separates with bias-cut, flowing sheers created a symphony of colour and shape that would put Disney's best movie soundtracks to shame. Checkered fabric made a surprisingly good match for lace handwork and sheer overlays."

in the end, although i was indeed transfixed by several very compelling looks, i wouldn't say it invigorated me with the same kind of steam as did their collection of a year ago. to me, it at times felt a bit meandering, and also rather like we were supposed to be expending more energy and attention the way of the runway shenanigans than the clothes themselves, which, too, seemed to hop and skip about.  however, there were some stunning red carpet looks, such as a silken chartreuse one-shouldered number, or a peach strapless gown with some gorgeous sparkling beading at the bodice and a contrasting (and rather bold colour pairing) teal capelet for the model to cover up in.  however, i just couldn't with the gloves, which looked like something out of a renaissance jousting tournament, which is a good example of why, on the whole, i was having some trouble with the proceedings (see additional runway images at laiza lounge).

(see the presentation video, as it was staged at cape town, here)

[oneporktaco-blog]

africa fashion week: kluk cgdt

(images via hfa)

we're getting set to wind down the coverage of the various african fashion weeks we have of late been discussing, and as we move on to a couple of my personal favourites (you know how i like to hoard those back like the best treats from a halloween stash), we (rather ironically, it might seem) are coming to the africa fashion week in johannesburg show-opener, kluk cgdt.  designed by south africans malcolm klûk and christiaan gabriel du toit, the s/s 2012 range has, like the bunmi koko show, been trotted out at various events prior to now, so we'll have to take the analysis where we can get it. 

titled 'african romance', the spring offering, as haute fashion africa describes, was a "completely luxurious collection with stunning evening pieces...set in a skyline with stars strewn across the dark of the night."  something about an enchanted evening seemed to be the overarching (if not exactly stated) motif of the presentation, which was filled with materials like, as fab magazine reports, chiffon, lace, tulle, satin, and silk, with floral appliques, feathers, and delicate beading providing the embellishments.  mostly cool hues, including silver, cobalt, lilac, indigo, and greyed lavender were set against black and bluish whites, as well as occasional pops of sunny yellow and a golden moon shade. 

the site shadders rhapsodized over the "see through monochromatic pieces," while the blog shop liquorice opined that, for the spring range, "softness was the mood of choice, with layered, voluminous sheer dresses sweeping the runway, helped along by delicately embroidered hems and an entourage of fluffy feathers on a cropped jacket."  and although one was at first transfixed by the dresses, which came streaming out in impressive numbers and display (though i'd say the show was probably of an average length for most other fashion weeks, given the relative brevity of the african collections we've been looking at, this one was a veritable event)--cut and fitted to set nearly every imaginable figure to an advantage--it would be doing the house a disservice not to point to the fact that they also made considerable strides to address separates as well. 

these including everything from boyshorts to fancy dress trousers, skirts, and pretty lace blouses, and while by no means the showstoppers some of those gossamer, floor-sweeping frocks coloured the tones of the dusky artificial twilight imposed on them by the stage lights, they did at least argue one could see a certain indication of the break of sunrise for the house, what would come with the daylight.  and though i of course like the patterns and tribal leanings we've been seeing manifest so commonly on the african stage, once again, this was a bit of a relief, to be informed by the tones of the sky, perhaps, and not so much the colours of the earth.  it reminds us that the art is wider on the continent than just those styles would suggest, and we'll certainly be wanting to see what the house puts forth with the turn of the season.