While sauntering through the designer’s exhibition at London Fashion Week, I came across a small but pretty collection, featuring mostly dresses in aquarelle colours and structural shapes.
It was Liz Black’s second ready-to-wear collection, a more grown-up version and the logical followup of her Autumn / Winter ‚Concentric Thoughts‚ one that was inspired by artist Sonia Delaunay, known for her paintings featuring geometric shapes in bright colours.
This season isn’t that far away: Architect Zaha Hadid’s metal and glass buildings and designs by Markus Benesch have catered major references for the elegant, conceptual work as well as ‚luxurious leather goods, angular design and interiors along with many ideas associated with the concepts of movement, power, travel and speed.‘ Crêpe de Chine, double silk, lamb nappa leather, eel skin and duchess satin are the high quality key materials used for these minimalistic statement pieces that come in a reduced colour palette including pale lilac, white and greys.
Oh and you have to know that within this white dresses lie about two hundred working hours. Although the built in pyramids embellishing the front sides – called ‚the art pieces‘ by the team – are neither big nor small but something undecided in between and it all looks a bit too laboured, I much respect the skills behind this constructed, clean collection. Targeted at the 25- to 45-year-old cosmopolitan woman, the timeless dresses, jackets and trousers are all about the lines, texture and detailing and remain wearable throughout the collection. Venezuela-born Liz Black graduated in Fashion Design (Print) from London’s Central Saint Martins and has worked as print assistant for Diane von Furstenberg in New York and Emilio de la Morena in London. Since launching her own label in 2010 she is undoubtedly one to watch and has won the AKDK’s e-Creative ‚Best Emerging Fashion Designer‘ Award amongst others. Hey, even walking fashion doll Lady Gaga got spotted wearing Liz’s ‚Bow Circle Dress‘. This I don’t know from her personally, but I had the change to speak to one of her pattern cutters, Alexis Cawley.
Alexis, how was it to work for Liz Black those weeks before London Fashion Week?
It was pretty hectic as you can imagine, but fun. We’ve been working seven days a week for the last month or so but it has been very rewarding.
Which piece of the collection is your favourite and why?
I like the long duchess satin dresses, it is such a beautiful fabric to work with and it holds the geometrical shape really well.
What have you had for breakfast?
Coffee
As pattern cutter, how much influence do you have on the design?
As a pattern cutter I’m there to realise the designer’s vision. Having said this, there will inevitably be some influence with regard to shape and proportion as every cutter has their own particular handwriting.
Thank you for your time.
