ERDEM AW24: A Story of ‘Beautiful Contradictions’
In honour of Maria Callas: Erdem’s Interpretation of Callas’ Wardrobe for the Modern Woman
In a brand known for experimental textiles, vibrant prints, and details in craftmanship that can’t be matched, Erdem Moralioglu created his autumn/winter London Fashion Week show as an ode to the American-Greek opera singer; Maria Callas. Last year was what would have been her 100th birthday. Her intensity, her prominence, and appearance; “almost as a pop idol of the 50s” contrasted by a tragic betrayal by her one true love.
He referenced a performance of Medea, a Greek tragedy, which became significant in Callas’ career, when talking about his 2024 show. Moralioglu set out to show the contrast between the tragedy and her style behind the stage.
For the fourth time, Erdem took place in the iconic British Museum. Surrounded by the Parthenon Marbles, which were incredibly fitting for this year’s show. Guinevere van Seenus opened the collection as the music grew, wearing a pale green opera coat over a lace-trimmed bralette and a matching green ankle-length A-line skirt. The shoes paired with this outfit were fascinating – white marabou flats with an all-around feather trim that floated above the floor with each step. A reoccurring theme throughout the collection.
Moralioglu had made a decision for all models to wear similar hairstyles. Visible hair pins fastened the front of which could be described as a hairnet in either cream or black and slick back buns really made a statement. As a collection made in honour of Maria Callas, this creative decision allows his audience to focus on his designs, his story and most importantly understand the representation of the opera singer fully.
From here the show developed into Erdem’s interpretation of Callas’ wardrobe for the modern woman. Black leather opera gloves were worn by some models, accompanying oversized jackets, satin swingy dresses and statement red evening gowns. Floral bralettes were matched with skirts in greens, reds, blues and purples. The floral print also made a nod towards the flowers that were thrown on stage after Callas’ performances. He also presented pink and yellow faux fur cropped jackets with feather detailing matched with skirts that swung as the models walked.
As the show develops, the outfits evolved into evening styles and elegant silhouettes. Satin wrap dresses with fabric draped over the shoulder were paired with feather trimmed flats. Long faux fur jackets in black and cream continued to enhance the look of elegance as the night progressed. Embellished lace and the continuing beautiful feather detailing gave recognition to the glamour of Maria Callus’ style.
Moralioglu stated his favourite piece was later in the collection; “Look 46, a cocktail dress with draped scarf neckline and exploded bow in ruby red satin with broken crystal embellishment”.
The style changed slowly throughout the show and by look 25, a completely new silhouette had been introduced. An off-the-shoulder bodycon with a looser fitting round the bottom leading to a train. It was paired with black marabou flats and statement white and black drop earrings; this is the definition of an elegant evening dress. The shear lace fabric touched with a slight bit of sparkle, the cinch of the waist and the way the train floated effortlessly behind.
We got to experience more of this statement dress, but in a midnight blue, the off-the-shoulder was removed making for a more modest piece. By look 42, we really had delved into the depths of the evening with a silk embroidered shirt and trousers, velvet accents and trim with broken crystal embellishment in a style reminiscent of pyjamas. The first look to appear of this style was in a seafoam blue, worn relaxed and simplistically allowing viewers to understand that even in her most restful points, Maria’s style never lost its elegance and poise.
Throughout the collection, there were reoccurring themes of floral pattens, feather trims and faux fur, but it is worth highlighting the important statement piece that was the reappearing adornment of the golden flower. On brooches, coats, earrings, or simply a pattern accentuating an outfit, this flower was the depiction of performance. In a scene reminiscent of the singer collecting her flowers during her final number, Van Seenus closed out the show with a second lap around the runway, this time with a rose embroidered version of the coat that opened the collection.