Fyodor Golan Spring/Summer 2013 : The Holy Mountain

For my first catwalk show at London Fashion Week SS13, I was extremely fortunate to be invited along to Fyodor Golan‘s fourth collection named ‘Holy Mountain’ at The Waldorf Hilton, not far away from Somerset House. It was the perfect venue – the lighting was natural, the catwalk snaked around the room, which was split level, and for me, felt I had the best seat in the house on the balcony, overlooking everyone with a full view of the models, no neck craning required.

As the ambient music began, the crowd became hushed and still as the first model walked carefully down the stairs, wearing a royal blue peplum dress, with small cutaway sections and angel wings embroidered across the bodice, finished off with an oversized architectural hat designed by miliner Zara Gorman, sharing similarities in texture to the delicate shallow ridges of a clam shell.

The inspiration from this collection is drawn from ‘The Blue Tattoo’, a book written about Olive Oatman, a 13 year old girl who, in 1851, travelled alongside her Morman family towards the Western reaches of Zion, when her family was tragically massacred by Yavapai Indians. Now an orphan, Olive became a slave to the Indian tribe, who then traded her to the Mohave, another Native American tribe, who tattooed her face and brought her up as part of their own tribe. After six years of disruption throughout her most vulnerable years, Olive was then ransomed back to White society in Victorian England, where she became a Victorian celebrity, known for her tragic tale of survival and unique facial markings.

A secondary key influence for the collection comes from ‘La Montaña Sagrada’ or as later translated ‘The Holy Mountain’, a film produced in 1973 by Alejandro Jodorowsky, which served as the key spiritual background, combining elements of enlightenment, light, heat, tradition and transformation.

This inspiration is clearly translated throughout the elaborate narratives of Fyodor Golan’s rainbow parade of bright pink, desert hues of amber and royal blue, where a balance of structured shapes juxtapose against the free flowing organza, gazar and chiffons creating modern wearable sihouettes over the female form. This transition of structure to free flowing fabrics represents the changes Olive Oatman experienced during her time of captivity, how she eventually shed the restricted corsetry and shackles of her time.

With the majority of this collection being wearable, the beautiful organic facial structures, created by jewelers Yunus & Eliza, are not so wearable. That’s not to say I don’t like them, far from it. They’re strangely beautiful clever pieces of jewellery, just not something to be worn on many occasions.

The mood of the show was calm, relaxing and intriguing with each outfit appearing on the catwalk causing a stir amongst the audience, never knowing what to expect next. With the final walk by the entire cast of models, ‘Nights In White Satin’ by The Moody Blues began to play loudly, a melodic enchanting track, creating the most perfect ending to a sublime mélange of fashion, style and art produced by the highly talented Fyodor Podgorny and Golan Frydman, the designers behind the label Fyodor Golan.

Thank you to Trace PR, The Waldorf Hilton and Fyodor Golan for allowing me to be part of your incredible show.

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