This season, Mary Katranzou’s Fall/Winter 2014 collection was a master class in reinvention.
Since her debut in 2008, Mary Katranzou has built a name for herself using a specific technique in which she pulls inspiration for her collections straight out of everyday life and places the objects on luxe fabrics. Take for instance her 2011 collection, in which she employed digital prints of perfume bottles, spoons, and teacups on bold, structural shapes. From John Chamberlain’s crushed car sculptures to Diane Vreeland’s garden from hell, over the years, Katranzou’s conjured up a vast assortment of hyper-real optical patterns from a variety of unlikely subject matters.
Katranzou once again played with our perceptions and turned the mundane into the fashionably extraordinary.
This season, Katranzou once again played with our perceptions and turned the mundane into the fashionably extraordinary by translating the concept of uniforms – policeman, bankers, butchers – as well as road signs, badges, and crests, onto her silhouettes. And yet, unlike seasons past, Katranzou’s collection took form without – wait for it – a single signature digitally generated print. Insert gasp here. Instead, rich fabrics in sporty silhouettes – sweatshirts, tank dresses – as well as floor-sweeping gowns summoned a baroque opulence that communicated a completely innovative look for the young designer’s line, with matchy-matchy suits in metallic shades, such as look 21, as well as asymmetrical skirts (look 17), crafting a collection that felt modern, with high priestess flair. It appears, ladies and gentleman, for now at least, that the princess of prints has left the building.
Photos: Courtesy of Getty Images