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Vivienne TamFall Winter 2014 New York

Runway Review
2/10/2014 Natalie Cantell

As the snow began to fall outside, Vivienne Tam presented a confident AW14 offering that celebrated retro opulence for all it’s worth. Inspiration came - surprisingly - in the form of ancient Chinese cave murals discovered in Dunhuang. Digitally reproduced as patterns that were acceptably abstract, these influenced a collection that will be remembered as packed heavy with prints, right down to the pantyhose.

The collection felt rich with a spectrum of jewel tones that packed punch after punch. Playing with hues ranging from chalky to electric, Tam layered all means of fabrics to create luxurious looks that spoke more of ‘70s Milan than the caves of Tam’s native China.

While maxi-dresses were memorable, the winning looks were those that spoke of the more the empowered ’70 woman - a bottle-green leather dress, belted and further accessorized by a fluffy punch of Garfield-orange and Indian Ocean-aquamarine. Fur scarfs draped like cosy snakes, giving ladylike looks the attitude required. Knee length culottes were a pleasant surprise, apparently made of the same red leather as Michael Jackson’s Thriller jacket.

The finishing touches were care of Tam’s first venture into handbags, which while beautifully executed were mostly memorable for not demanding too much attention save for the occasional pop of color.

Printed separates were paired for maximum effect, letting the less brave divide-and-conquer the more abrasive printed looks for real word wearability. Although admittedly making much the collection more accessible, we’ll be sad to see them played down once they hit the street. Going over the top with Tam’s collection is half the fun.

View Runway
2/10/2014 Natalie Cantell

As the snow began to fall outside, Vivienne Tam presented a confident AW14 offering that celebrated retro opulence for all it’s worth. Inspiration came - surprisingly - in the form of ancient Chinese cave murals discovered in Dunhuang. Digitally reproduced as patterns that were acceptably abstract, these influenced a collection that will be remembered as packed heavy with prints, right down to the pantyhose.

The collection felt rich with a spectrum of jewel tones that packed punch after punch. Playing with hues ranging from chalky to electric, Tam layered all means of fabrics to create luxurious looks that spoke more of ‘70s Milan than the caves of Tam’s native China.

While maxi-dresses were memorable, the winning looks were those that spoke of the more the empowered ’70 woman - a bottle-green leather dress, belted and further accessorized by a fluffy punch of Garfield-orange and Indian Ocean-aquamarine. Fur scarfs draped like cosy snakes, giving ladylike looks the attitude required. Knee length culottes were a pleasant surprise, apparently made of the same red leather as Michael Jackson’s Thriller jacket.

The finishing touches were care of Tam’s first venture into handbags, which while beautifully executed were mostly memorable for not demanding too much attention save for the occasional pop of color.

Printed separates were paired for maximum effect, letting the less brave divide-and-conquer the more abrasive printed looks for real word wearability. Although admittedly making much the collection more accessible, we’ll be sad to see them played down once they hit the street. Going over the top with Tam’s collection is half the fun.


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