Neoclassical Noncomformity: KTZ SS15 Ready-to-Wear
The word ancient has become exactly that, as London Fashion Week delves into the cultural wonders of Grecian modernity with KTZ’s Spring ’15 Womenswear collection.Designers who can successfully incorporate a complimentary balance between ancestral ethos and raw modernity are very few and far between, but yet again, KTZ have prospered. Over the recent collections, Marjan Pejoski has certainly acquired a cultural appreciation for merging the past with the present by means of portraying the future. “We are big followers of national geography,” Says Pejoski, “We always inspire to celebrate the forgotten cultures, and so we try to embrace them, cherish them and give them an elevation.” This season’s predecessors engaged this cultural consideration, with SS14’s incorporation of North-African Nomadism and AW14’s Moroccan-inspired motif, and this collection was no exception.
Through engaging the artistries of potter, Josiah Wedgewood and photographer, Robert Adams, Pejoski sought inspiration through neoclassicism by rejuvenating the cameo in ways that cannot be achieved by simply wearing the brooch in which it is typically known for. What is perceived as one of the most renowned silhouettes – lifeless as it may be – the cameo has now instilled life into this monochromatic, metallic infused collection. Inspired by driven women such as Grecian mythological huntress, Atalanta, this collection clearly embodies the intelligence, spirit and compassion of powerful women. Through the bold, charismatic and compelling garments, KTZ offers a Grecian twist on modern day street-savvy meets casual club-wear.
Embossed body-con dresses overpowered the runway, adorned with varying cameo motifs assembled in such a way that they formed art-deco inspired patterns of their own. A black mesh kimono draped over an embellished leotard while voluminous bomber jackets and structured zipped jumpers were accompanied by midi skirts emblazoned in Grecian engravings. Mock-croc insinuated the amphibious nature from which it was inspired, covering dresses and quilting t-shirt and trouser combinations from head to foot. Completed with three dimensional scales, it appeared as though the croc’ had arrived straight from the creek.
No stranger to monochrome, Pejoski’s reputation proceeded by dominating the collection with the vast majority of looks consisting of this outwardly embraced black to white consistency. Despite supplements of dust pink and metallic gold consuming the latter half of the collection, this by no means undermined the collision of contrasting shades that had centred the collection so profoundly.
The accessories were every bit as empowering as the garments, almost as if Pejoski refused to accept their role of simply being additional to the outfit. Chunky gold jewellery consumed the collection, with arm cuffs to further reciprocate the Grecian Goddess inspired motif. Elsewhere, cameos continued to govern the entirety of the collection, taking the form of overtly out-there earrings, necklaces and rings to accompany the printed garments. Black leather boots extended to the knees, as did sheer panelled socks varying in denier with each stripe that followed while coned hats were fashioned on virtually every androgynous-esque model, alternating in black to white with sculptural engravings as well as vertically aligned stripes.
Subtlety, it appears, does not lie in Pejoski’s vocabulary, and rightly so. Rather a performance than a catwalk show, this riveting collection was welcomed as highly as it was predicted. What lacked in erraticism was compensated with eccentricity and from KTZ, we would expect – nor would we accept – anything less.
