(images via lfw)

aha! so the time has come to give our farewells to this edition of lviv (or lvov) fashion week.  didn't that feel fast? okay, i'll grant that nothing feels fast at opt these days, but really, this season i feel that we got through things remarkably easy, and with relatively little difficulty (as we've often had in prior seasons here in ukraine) finding out at least something about each collection. anyway, this time around we'll be saying our goodbyes with the outstanding s/s 2013 range of polish designer natasha pavluchenko, whom we're used to seeing in lodz (see a/w 2011 & s/s 2012), but who is often a guest here in lviv.

and so.  for the designer's latest spring range, the ukrainian site fashion-media explained that the title was 'tristezza,' and it was, according to the lfw site, "inspired by circus culture" (in case you didn't already pick up on the hints of that so rather clearly evoked other circus-y collections we've seen in seasons past, such as the individuals by amfi s/s 2011 show in amsterdam, or brazilian designer ronaldo fraga's amazing-amazing s/s 2012 pierrot-clown spectacle). also, although i'm not particularly a fan of the term, at times the range reminded me of one of those 'up-cycled' collections, such as the danish label trash-couture's s/s 2012 exhibition.

anyway, for the present offering, in a rather intriguing turn, we heard from the site lviv beauty, reporting that ms. pavluchenko drew on (trans.) "grievances related to circus culture. Circus actors faces change depending on the scenario, taking on one of the various roles. This pattern is evident in the collection - from the first to the last image as a woman changes her face: from a virgin to a comic figure."  to me, it's quite interesting that this isn't, like, the same kind of celebratory collections we've usually encountered regarding circus life, but is, rather, a more austere version, perhaps indicating the hardships the performers go through (really, being nomadic is only pleasurable so long, no?).

meanwhile, in a slight aside before we get too much into the analysis of the clothing itself, according to fashion weare, the designer commissioned musical artist yossarian malewski to compose the collection's soundtrack, quoting thim as explaining that (trans.) "(w)riting music for a long time, Natasha  was circling around simple themes and associations under the inspiration of the collection - the circus. But this straightforwardness di not satisfy me completely. I knew I was making a high risk of going 'my way'- after all, the whole show is the work of Natasha and her vision is paramount. Hooked on a musical theme and following the trail, I discovered the 'circus': a whole lot of tenderness, emotion and reflection. I decided that this is the point of reference and that it will bring something to the project as a whole."

in other words, that which we were witnessing felt a lot more like performance art than it did a typical runway show, although sometimes i feel that, considering how many we discuss each season, i'd really like to see more thoughtful exceptions to the rule, but that's fodder for another place.  and so, the site went on to comment of the clothes that they (again, trans.) "(w)ere kept in muted colours, ranging from black through gray and muted powder pink with white finishing. The collection was designed as living emotions for women. Self-confident, enjoying life, movement, but not standing next to reflections...Static, while the most flexible. Subdued - like black, but mesmerizing - as striped dress flowing around the body."

wow, they're hyper-dramatic about their collection descriptions, no?  anyway, in a more standard analysis, we heard from the polish website insider-online, weighing in that (trans.) "Natasha took the audience to a show of gondola rides in Venice. Models' faces resembled a sad Pierrots, long dresses appeared clearly, black and white striped t-shirts evocative of Italian rafters. Romantic and reflective characters, they added...powder pink and baby doll dresses. Dramatic contrasts in the collection can be seen not only in the colour palette, but also in comparison of delicate, ethereal lace and tulle with raw black leather and knitwear."

"Rather, the collection was created with a view on the red carpet, but some elements can be integrated into an everyday wardrobe," (again, trans.) was their conclusion. now, i'd actually agree with the former, and disagree with the last sentence, arguing that although much of the collection felt hyper avant-y, in that it probably wouldn't be for most girls not actively living some kind of performance art-style lifestyle, yet pointing out that nevertheless, it could be scoured from some charming basics.  to be sure, i'd love to see many of ms. pavluchenko's creations making it to the red carpet, but given that we rarely see anything, yannow, not, like the standard couture houses (chanel, elie saab, valentino) or household names (versace, donna karan, stella mccartney), i is ain't gonna be holding my breath.

thus, in the end, i really didn't have any problems (surprise!) with the collection itself, finding it as fun and whimsical--though certainly darker than one would tend to expect out of any circus, though i can't help wondering if ms. pavluchenko was partially inspired by the black-and-white cirque du rêves in the rather unfortunate the night circus, which these days seems to be circulating everywhere--with fun nods in the stripes, tulle, bows, capes, and layers to the traditional world of the circus, though not without some imagination of its own (much like, i should think, the much more impressive cirque du soleil).  on the whole, it was a nice way to stay in-keeping with the designer's dark aesthetic, yet still filled with the verve its inspiration implies (see some lovely backstage images at i live backstage).

(images via marek makowski)

natasha pavluchenko's brilliantly modernist a/w 2011 collection presented at fashionphilosophy fashion week poland in lodz immediately drew my eye for its dualities--addressing both the avant garde and the wearable in a show that was somehow at once dark and brooding and yet filled with plenty of light colours. 

presented in a palette of black, white, gray, beige, and red, the critics i read whilst writing this seemed to disagree on the show's theme (and i haven't seen quite enough images to rule on this), with kobieta avowing it was a military show and modowo that it was (trans.) "evocative of dark horror and silent film." 

titled 'urban fashion', according to gazeta lodz, the range, as modowo reports, was filled with the particularly sporty (some of the lean pants looks almost resembling fencing-wear, complete with quilted pants in some cases) and refined evening gowns.  details such as ribbons, belts, and unexpected seams were added to give interest and shape to the collection. 

although most of the reviews swooned at the feminine confidence and innate sexuality in the creations, it was interesting to note that that they worried over the appropriate-ness for the season, wondering that the fabrics might perhaps be too flimsy and light come winter.  of course, in the skewed world that fashionies inhabit, seasons (and, yannow, feeling cold) have little to do with looking good, and most autumn collections will hit the stores long before snow flurries, so i'm not sure it is pressing a concern as they suggest.  but maybe there is something in, like, coordinating actual seasons and their collections' appearances in the shops.  hmm.  what a thought. 

(watch the complete show video here)