Summer echoes of an elongated silhouette . . . PEET DULLAERT’s SS2015
For those gazelles race-walking via all the French rooms, Parisian parquet’s herringbone wood stage happily matched the work of Dutch artist Wendelien Schönfeld (The Hague, 1950). The once upon a time eighteenth-centuryrooms from Hôtel Turgot,couldn’t be more of a negotiable fusion into Dullaert’s designs through the colors and the light. Even today Schönfeld’s salons redefine your working space, they might be your occupation or job habitat but they are also inspirational and stunning.
Again those pretties were absolutely dynamic! The ambiance on the runway seemed like an active morning, a just born working class female who supersonically walks instead of endlessly operating behind electric devises. They don’t make noise and neither do their spiky heels during the early mornings. That body movement not only reflects ultimate self-confidence, it also becomes an uncatchable flash of ephemeral beauty. They all passed faster and faster.
His ‘working women’ pedigree comes from the balance of holding their own style identity and being able to accomplish any activity females do today (comfort above all). The office, the cocktail party even the evening galas are all situations dominated by ‘courage’ to enjoy and share the inner spirit of exposure. Shoulders were often uncovered, but a simple leather briefcase would have aloud any of them to enter even a business meeting with financial intermediaries (with suited male bankers around an oval table, bring them on!). Shockingly sexy could we say? Certainly, though never tangential to vulgarity, not even close. All the hints of nudes were harmoniously respectful, often covered by toga straps giving a touch of tension to the fluid fabric parade. It looked like the designer grabbed them from their neck and let them turn in a circular pedestal while playing with geometry and rich materials. Effortless amour.