Alon Livné: Fall/Winter 2014

Alon Livné: Fall/Winter 2014
H.M. Shaw
Photos By Cheryl Gorski
“The Artist” to say that there have been a few homages to the 1920’s in the fashion world is a gross understatement. Consider the occasional bridal spread with lace cloches subbing for traditional veils and boning taking a back seat to dropped waists. Walk into small boutiques or, hell, big name chains such as H&M, you’ll see jeweled headbands and long strands of beads that tickled trend-chasers refer to as “Gatsby,” as if it is a brand-name let alone a proper adjective. (Personally, hearing such terminology results in an unwelcome second taste of my morning latte. But I digress.) Though the Prohibition Era was a time of excess and said excess poured into hat design and handkerchief hemlines like bathtub gin, the real essence of 1920’s fashion was in its simplicity. Even the heavily decorated silk gowns had basic forms that allowed the female form to interpret the garment.
The patterns of 1920’s evening wear channeled the aesthetics Ancient Greece with the use of draping, deep-necklines and the dare to sport bare arms. Granted, blazing jewel tones and bold lips that <hard sigh> are just like the costumes that robe the often disrobed Paz de la Huerta on “Boardwalk Empire,” but the fashion of the 1920’s is not only costume. The Alon Livné line for Fall/Winter 2014 does the 1920’s justice. Were there statement headpieces? Yes. Was there plenty of beaded adornment? Yes. Was old-Hollywood alive and well on the run-way? Hell yes. Does the line screech, “Speakeasy” or “Charleston” or any other cheeky blanket ’20’s jargon that is often misused by ModCloth-smitten Gen-Yers? This blogger is happy to declare dear God no. The latest pieces from Livné are art nouveau to the bone. Waists where there they need to be not because they because they have to be. Jeweled adornment that is not intended to sparkle sweetly, but to shine like the woman that is meant to wear the gown. Cut-outs that make for subtle sex appeal that whisper divine femininity rather than cling to flapper. Upon first sight, you can see Agnes Ayres in every stitch clear of the Swarovski crystals instead of garments made for the purpose to pull off overt imitations of her (in fact, her 1921 film “The Sheik” served as an inspiration for this collection). Don’t you dare call it, “retro.” Don’t call it “roaring.” See it for what it is: ravishing.


Managing Editor & Photographer of the Fashion Maniac team

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