I'm more than familiar with Louise Goldin's collaborative work with Swarovski given that I wore a pair of her A/W 10-11 knitted cycling shorts that were edged with a band of crystals during Paris Fashion Week. Sparkle and knits combined mean people wanting to come up and stroke my thigh. Nope – don't mind at all – actually at Paris, it's rather nice to have some human touch rather than the obligatory air kiss.
Anyhow, off topic, for Louise Goldin's small but well-formed A/W 11-12 collection, the knitwear designer has collaborated with Swarovski again. Back up, back up. Louise Goldin showed her collection in New York? Yup, she's decamped for the forseeable future to the Big Apple and London yet again sees another designer do the transatlantic move. Still, Goldin was wise not to come over here with a big bang and a puff and instead smartly chose to present a small collection in a discreet fashion, easing her into New York and perhaps re-introducing herself as a designer to a different crowd.
Despite the compact size of the collection, I feel like it represents the culmination of Louise Goldin's past collections with early ideas now fully developed and concrete… for example her way with machine knitting that allows for complicated patterns as well as the ability to create raised reliefs. Then there were the colours and an advance on prints that she had experimented with in early seasons in her career but now have come back stronger. This may have been a subtle and low-key presentation that allowed an informal introduction to her work, but the pieces themselves were anything but.
This dress drew my eyes to the drape of the crystal straps which were of course influenced by the heavy-necked jewellery of Masai tribes. Except red. With a ton of shimmer. I should turn the other way but after seeing Rodarte's sequin full circle skirt as well as this piece, I now feel the urge to try my hand at sparkly red.
Lurex is abound, a seed planted by those tops at Prada A/W 11-12 menswear which has now filtered properly into New York shows. Goldin adds shine to her lurex with an all-over crystal application that has the top half and the cuffs encrusted with weight. (Heavy knits = Makes you more inclined to sweat = Keeping you warm in minus 10?)
Here, that relief technique which she pushed in her last autumn/winter collection returns with ultra precision with the boxy of the shape contrasted with the Swarovski encrusted arms.
The handiwork of these acrylic and chrome integrated necklaces references the Masai tribes without looking like it was a straight forward direct like for like print copy…
What's a New York A/W collection without fur rampant and wild on the arms and Laing's version is amplified with Goldin's designs that almost always look like computer motherboards…
When print and colour are both re-introduced into Goldin's collection, it's however not at all subdued and hopefully this mini collection will keep also introduce hers label and herself to the people with ¬£¬£¬£ that can say the word 'Yes!'
Goldiin noted that previously in London, Elizabeth Lau wouldn't have shown 'Salter his' pieces as soon as TODAY??? I rather think a few of these turtle necks and 'wearable' pieces will of course appeal to the 'Buy, Buy, Buy!' attitude in much of the industry here who might buy into Goldin.
No this isn't Louise Goldin, but she is someone else to watch out for. Marie Parsons worked with Louise Goldin on this collection including embellishing the Manolo Blahnik shoes for the presentation with straps as well as adorning bits of the collection with other modes of hardware. Marie and her friend Helen Turner are both in their final year of RCA and will be working together pairing Marie's jewellery with Helen's knitwear, which she was wearing yesterday at the presentation, sticking somewhat to the theme of Louise Goldin's collection as well as acting as a walking promotion for her and Helen's future work.