At her presentations, Alaverdian is a ball of anxiety. After this show, she could barely talk. She did confirm that those high-rise hats were based on Yemeni headwear, and muttered something about travel before clemency kicked in and we spared her the torture of further inquisition. Alaverdian is another reconstructionist who often takes menswear, messes with it liberally, and refashions it afresh—and she included her actual menswear here, too. Sartorially colored fabrics and gabardine-ish mac material were used in amplified coating; askew-hemmed skirts and jackets were either cropped and fitted, or low-skirted, double-breasted, and oversized. Looks that were not based on tailoring included swirled and dimpled fitted dresses in tartan checks, more dusty taupe, and the odd dusky scarlet jolter.
Alaverdian is also a whimsical soul, and the hats expressed her inner surrealist (along with hand-buckle belts and a really cool skirt that appeared several times throughout the show—it looked like an unpicked pair of hemmed wide-cut men’s pants). Long, pouchy shopping bags and the occasional garment came printed with painted peaches: a nod to Prufrock? There was a lot to relish here but, sadly, little time to do so—this last-day schedule was packed with good stuff.
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