Fyodor Golan AW/16
Fyodor Golan AW/16
First impressions: that purple and orange opening look is b-e-a-utiful, where can I get the embellished denim jacket, oh there’s the Coca Cola logo (share a Fyodor Golan with a friend?), did this show just change the denim game on par with Ashish? In what seemed like a swarm of references from the commercial to the finest of art this collection remained distinctively Fyodor Golan through its use of colour, playful digital prints and embellishment-on-acid. The invitation provided one of few pieces of information behind this collection, a quote reading ‘Like a child who is omnipotent, I want to be both secretive and exhibitionist, in the same person’; perhaps explaining particular aspects such as cut outs exposing hidden layers and pleated fabric extruding from clean cut panels.
This child-like reference can be seen in the oversized nature of the eyelets which adorn most of the garments as well as the frills and bows which are sometimes used in conjunction to tie the panels together. Looking to find more information; all that was provided was a short list which felt more like a thought process than anything. With particular points including Birth of Venus, Nicole Wermers (Turner Prize nominee), Oliver Michaels (Brooklyn-based artist), Alexander Liberman (editor, publisher and artist) and additional key words such as ‘rhythm’, ‘textures’ and ‘pin-up’ it was left for the onlookers to make the connections. From this you may attribute the use of eyelets to Liberman’s circle studies, the inclusion of a fur coat to Wermers’ Turner Prize entry, the Birth of Venus to, well, The Birth of Venus print. But what is not apparent is the connection between the references. Considering this, this collection definitely achieves the intention to be ‘secretive and exhibitionist, in the same person’.
Written by Leanne Westbury / @leannewestbury
Photographs by Katy Thomas