Prabal Gurung has been continously paying deferential homage to his roots and memories. For Spring 2015, in contrast with the serene-spirituality previously perceived at his Fall 2014, Gurung showcased through 38 looks the enigmatic and arresting power of the Himalayas
. A story even reflected on the scenario for the show: Black glossy-flooring, alongside striking illumination - magically diffused as if it came from above the sky. That caliginosity aura helped to reveal the feminine, modest and seductive language of the clothes; which in their challenging, geometric execution and soft-summery-flaunt, portray a gelid sense. "From dusk to dawn
" - this excerpt (noted on press releases), relatively figures the strong, cohesiveness and consistency seen on the collection's evolution. Never dismissing the deepness of black and the icy-white as predominant protagonist, the pastel color palette emphasized a demure and mysterious tone. A great juxtaposition of details that emblazon and manifest the countless times Gurung spent during his childhood studying the Nepal's horizon, through the peaked silhouette of mountains.
This season, jacquards and fabrics have a craftsmanship, couture-finish. Some of which, produced technically and re-worked by hand to offer an artisanal approach. Thus calling to mind the Nepalese landscape, recreated through tactile, visual effects over textiles. A mountain jacket, flocked with satin and gazar to mimic the look of downy clouds, is a perfect example. Or in other cases when dresses, wrap blouses and skirts, designed in "Himalayan" cloque-jacquards (as described), were embroidered with lurex to highlight the details across their graphic, mountain-views. Same with the graphic and tridimensional effects created with ostrich feathers: Sometimes flattened over silk to create topographical maps, or simply hand-embroidered to create foliages.
Through the use of geometrical and curvilinear insets, Gurung has been exploring new methods to construct the bodice's of tops and dresses. That being said, on efforts to offer the groundbreaking, there were times his ideas were sharply achieved (as in the asymmetric dress, with leather insets and hand-painted wildflowers over lace), and other times were those turned out with less success. More allure presented the knitwear with cut-outs that merged into different knitting combinations. However, that particular silhouette-construction resulted into an interesting blend between couture and sportswear, allowing sport-dynamic elements to be expounded through the use of racer-tops, pulling-drawstring cords and buckled-belts (cinching the waist on dresses and skirts), or the use of lightweight ripstop-nylon for the back of a jacket.
At the end, a trio of dresses with racerback toppers, sliced on the back to reveal the crystal hand-beaded bodices, were minimal yet opulent. A clever reminder that sometimes the exceptional tricks are found on the simplest details.
By Jhon Jairo Santos
Photography by J.C. Parra