#SuzyLFW: Faustine Steinmetz And Molly Goddard

Faustine Steinmetz: Jeans Genius

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Faustine Steinmetz is fascinated by denim and its myriad treatments. But while in previous collections she has been in pursuit of different ways of treating the fabric, for this Autumn/Winter 2017 season she focused on place. That meant studying how – but not so much ‘why’ – Israel makes a strong denim and Columbian jeans are super-sexy.

The effect was of ‘same difference’ – meaning that the outfits were mostly familiar jean shapes, but the treatments dramatically different. And as always for Faustine, the clothes are grounded in her belief that the production should not pollute water or waste it.

“I studied how people do denim and I found jeans from different parts of the world,” said the designer citing America's Seattle and Bogotá in Columbia. “I just worked around it and reinterpreted it in a more contemporary way,” she said.

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That made for some intriguing fusions, such as taking the Japanese Shibori dyeing and binding system of treating indigo and applying it to Tel Aviv-style bold denim. These could become one of the Steinmetz classics, so each product is labelled with the date, technique and whether it is hand or machine made. “There is a new range we’re doing of denim which we hand weave in Africa, in Burkina Faso,” she added.

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Just to make things even more complicated, this African woven work is inspired by a Canadian archetype: broken denim “when denim is distressed and there are holes and a lot of yarn.” Yet another focus is Spain where a factory collects used jeans and pulps them to create new yarn, using the factory's own recycled water – a control of waste about which Faustine is passionate.

The mini presentation had the energy of someone who is on a mission – and that is indeed rare in fashion.
       

Molly Goddard: Party Time

Molly Goddard Autumn/Winter 2017

Molly Goddard Autumn/Winter 2017

Molly Goddard Autumn/Winter 2017

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Molly Goddard's early work has always seemed personal, as though every high-waisted pretty dress with gathered, puffy sleeves was her individual choice, imbued with memories of her childhood birthday parties.

Molly Goddard Autumn/Winter 2017

Molly Goddard Autumn/Winter 2017

Molly Goddard Autumn/Winter 2017

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But this time, although looking pretty at parties was still the subject – referenced by antique tables with candelabras and bowls of fruit and flowers – the designer had taken things forward: literally, in the injection of more sophisticated looks and, metaphorically, in that she was clearly expanding her customer range.

Molly Goddard Autumn/Winter 2017

Molly Goddard Autumn/Winter 2017

Molly Goddard Autumn/Winter 2017

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So, alongside the dresses with full skirts to match the billowing sleeves, tripping down a path of oriental carpets, were women who were wearing, not glitter boots, but ballet slippers with narrow trousers and short dresses. There were other flat shoe looks that were still in the fantasy range with tutu skirts and some practising-at-the-barre ensembles of striped sweaters and coloured tights. The show was whimsical, colourful and sometimes like costume-y dressing up, but charming in spirit.

Molly Goddard Autumn/Winter 2017

Molly Goddard Autumn/Winter 2017

Molly Goddard Autumn/Winter 2017

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