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Bold fashion defies slowdown in South Africa

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JOHANNESBURG (Reuters Life!) – Designers defied the global economic crisis at this season's South African fashion week by showing off vibrant outfits with hints of tradition inspired by a golden era of African civilisation.

Stoned Cherrie, South Africa's best-known black design label, closed fashion week in Johannesburg with bold colors and fabrics reminiscent of royalty, influenced by the ancient Mapungubwe civilisation from southern Africa.

"Stoned Cherrie is about abundance," Nkhensani Nkosi told Reuters after the show, which featured models bedecked in brightly colored dresses covered with frills, mixing fabrics such as mesh, lycra and a delicate silky cotton.

"Inspired by the curiosity around Mapungubwe, we basically tried to imagine what it would have been like in the present day," she added.

Mapungubwe is believed to have developed into the largest kingdom in sub-Saharan Africa before it was abandoned in the 14th century and may have boasted sophisticated trade links with India and China as far back as a thousand years ago.

Fashion in post-apartheid South Africa reflects the country's journey from pariah state to a multiracial democracy, as young designers like Nkosi mirror the country's diversity and growing cultural confidence.

Not so long ago, designers -- both black and white -- would often simply mimic European trends. But in recent years, new labels like Stoned Cherrie have combined indigenous African fabrics with sleek modern lines or funky streetwear.

Stoned Cherrie, known for its T-shirts adorned with iconic prints of political leaders like Steve Biko, also has global ambitions, and recently held its first show in New York to what Nkosi said was a "fantastic reception."

The show in Johannesburg at the weekend was packed.

Nkosi said she was determined not to let the global financial crisis, which has dulled demand for haute couture from Paris to Tokyo, temper the optimism at the heart of her collection.

Fellow designer Uyanda Mbuli, who exhibited her Diamond Face Couture label at fashion week, echoed Nkosi's sentiments.

"Just because there's an economic meltdown doesn't mean that consumers aren't buying clothes," Mbuli said, adding her one-year-old business had not been affected. "It's just that their buying decisions are now backed by intellect. They seek value."

 

Australia fashion week trimmed by economic blues

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SYDNEY (Reuters Life!) – Australia's fashion week was thinner this year as the global economic crisis crimped designers and buyers' participation, but the catwalk remained an explosion of colors amid optimism that spending will pick up.

Organizers of the 14th Australian Fashion Week that began Monday said the event was 15 percent smaller than last year, with 41 shows and two rather than three catwalks, which mirrored cuts in the fashion capitals of London, Paris, New York and Milan.

Some of the biggest names in Australian fashion were notably absent from the five-day lineup of spring and summer fashions such as Akira, Michelle Jank, Alex Perry, and Bettina Liano.

Big names left on the schedule were Sass & Bide, Camilla and Marc, Wayne Cooper, Nicola Finetti, Zimmerman, Kirrily Johnston and Lisa Ho while Dion Lee won high praise for his catwalk debut.

Organizer Simon Lock, who founded the event in 1995 but sold it to New York-based marking company IMG in 2005, said the numbers were down this year but the mood was upbeat with forecasts of spending rebounding later this year and into 2010.

"We certainly aren't seeing dark and demure collections as the media seems to think fits the times. We're seeing a lot of really directional fashion with lots of great colors and inspirational collections," he told Reuters.

Retail analyst IBISWorld has forecast Australian clothing exports falling 2.4 percent to $322.5 million this financial year as consumers in the United States, Europe and Asia buy less high-value Australian fashion exports.

IBISWorld's general manager Robert Bryant said this meant that Australian retailers and brands positioned at the luxury, high-value end of the market would struggle.

"As ... so-called recessionistas turn to mid-market brands for more affordable options, revenue within the top end of Australia's fashion field is likely to fall by 19 percent this year," Bryant wrote in a report released as fashion week began.

"While relative prosperity over the past five years led to an increase in the number of designer boutiques and luxury clothing stores, this sector will fall the hardest during the current crisis, with brands such as Morrissey and Herringbone already closing their doors, and more likely to follow."

But Bryant predicted the trend would be short-term, with spending rising in 2010 as economies globally recover and enthusiasm for high-end fashion returns.

Lock said the Rosemount Australian Fashion Week was still attracting good numbers of overseas buyers, with strength from the Asia Pacific region, particularly Malaysia, Hong Kong, Singapore and China.

European and North American organizations were still represented but by fewer people as travel budgets were cut.

"But we are yet to get a feel for the strength of the check books," said Lock.

 

Jayson Brunsdon: Class With a Hint of Parisian Panache

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Sydney – It felt like Paris at Jayson Brunsdon's runway show at Rosemount Australian Fashion Week in Sydney Wednesday, April 29, when the simple and chic sophistication recalled the old days of haute couture when shows were mini social galas and not celebrity slugfests.

Full of understated poise, the collection was one of those stylish affairs where the pale colors, quietly graceful hair and makeup and classy carriage of the models all evoked one big word - ladylike. In an era when people turn up for shows in faded anthracite jeans, Brunsdon's collection was a bit nostalgic, but defiantly elegant.

There was a certain colonial comportment to this collection, where pleated georgette pool dresses, oyster-hued dresses, splendid boyish shantung shorts and leaf colored cocktails whispered grace, but never shouted glamour.

Brunsdon may not be the most innovative of designers, but he has plenty of class. He designed the collection and staged this show after undergoing many months of chemotherapy after being diagnosed with cancer last July. Brunsdon dedicated the collection to his mother Dorothy, and a drawing of his mother was on the cover of his invitation.

"It was a dark period in my life," said the designer, who embraced Dorothy on the catwalk, an elegant touch before a cheering audience that gave Brunsdon a loud and long applause.

 

Konstantina Mittas: Posh Goth Moment

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Sydney – It was a posh Goth in a sunny land moment Wednesday, April 29, in the Rosemont Australian Fashion Week at the latest collection from Konstantina Mittas.

Models with punky Marie Antoinette stacked-up hair and gold leaf-style panda eyes strutted out onto the catwalk in the Mittas show before a giant electric blue LED backdrop.

Blouses composed of shards of torn black silk, leotards in white parachute materials and hooded cocktail dresses with chunky knots and ties all led to an evocative moment.

Mittas' best ideas were macramé mini dresses over black body stockings or shantung minis, or just-survived-a-shipwreck asymmetrical gowns worn with leggings. They were great gallery opening looks that would also work brilliantly at a post-midnight after party in a club using lots of dry ice, just as this show did.

Throughout, the clothes were body-conscious and very short - like about every collection in Sydney, where locals have taken to calling the extremely high hemlines "fanny trimmers."

"Every time I created a look that I really liked for this collection, someone would say it was 'strange.' And then I realized that was the sure sign I liked the idea, so I decided to call the collection after that fact," said Mittas, who explained that 'strange' was "a mathematical formula about opposites."

 

Romance Was Born: Australia Couture

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Sydney – Often the best tests of a fashion house's influence and possible longevity is the strength of its underlying concept, and using this yardstick one can only predict the rosiest of future's for Romance Was Born, which staged a simply sensational show in Sydney Thursday, April 30.

Staged in the light-bathed end of a great old wharf, the show was practically a hit before the first look appeared, thanks to the great stage set a potpourri of cane trunks, garden statues bedecked with chains of pearls, fine bone china tea sets, budgies, ships steering wheels, gardener's paraphernalia and a substantial wacky garden of potted flowers.

The opening was also perfectly judged, a sixties-like mini skirted white suit. The opener captured many of the breath-taking details of this impressive aesthetic statement - eyebrows remade with mini fans of pearls, platform shoes constructed with doilies and seashells. If this sounds absurdist, that's because it was, yet the sheer audacity of the images also made every look a wonderful one.

Curvy, sexy shantung suits in cobalt blues, saucy society hostess cocktail dresses - subverted by the body hugging shape - and bird of paradise slatternly countesses in fiery red frocks all looked great.

This was the closest collection outside of Western Europe to reach the technical heights of a Paris haute couture show. But what made it even more special was the way Romance Was Born's designers Anna Plunkett and Luke Sales made this Australia couture, by using lots of references to their own country and culture, whether it be colonial doilies, wrought iron filigrees, crochet squares or grandmother's pearls. That was clear from the show title: "Doilies and Pearls, Oysters and Shells."

Plunkett and Sales teamed up with local artists Patrick Doherty and Esme Timbery to produce colorfully naïve cartoonist prints on a great silk material composed of oysters and pearls.

"Our next plan? Opening boutiques in Melbourne, Sydney and Tokyo," said Sales, in between interviews with local TV crews.

Created in pastel hues of pale pink or faded blue, mint and lavender the collection deservedly won the duo prolonged applause as they took their bow after a memorable display of adventurous style and chic. It was a rare and unique moment when the meeting of imagery, aesthetics, eccentricity and beauty was so special that one felt privileged to be right at the center of the creative universe. Romance Was Born elicited one of those charming epiphanies.

 
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