THE BACKSTAGE area at the Edeline Lee presentation is surprisingly calm, a feeling that several remark upon during my time there. Glass Fashion Director Katie Felstead, who styled the collection with Edeline, seemed almost bemused saying, “She’s very calm, isn’t she?” Clearly, Lee is expected to be rocking back and forth in a corner while chaos erupts around her. Not so. In fact, drifting towards me to say hello, she seems almost in a dreamlike state. “I’m very in the zone,” she says, smiling and nodding, before drifting once again in the opposite direction towards a group of models returning from the stage.
Perhaps the peaceful atmosphere was owed to the tranquility of the presentation itself. Set in a sort of pseudo-Japanese garden, the stage floor took the form of grassy chippings, softly crunching underfoot as models roamed around rotationally. Bonsai-style trees added to the effect, while Leo Cosendai played a gong bath over an original piano composition by Belle Chen, creating an atmosphere of serenity rather unique for a fashion show.
Rich berry tones offset against darkest greys drape down shoulders like a waterfall, skimming and sliding rather than clinging to the body. Jacquard-print trousers peeked underneath jewel coloured coats, loosely fit around the ankles for an elongating effect. Monochromatic looks were seen once again, as at Jasper Conran, giving an ambivalent ease to the clothes which is surely owed to Lee’s signature pared back aesthetic. This was also reflected in the beauty choices; pale, flushed faces of English rose models with natural, un-colour-treated hair sleekly parted down the middle, forgoing harsh poker straight locks and leaning into natural texture towards the ends.
Reflective, still, nearly monastic – these were among the notes provided to editors during the presentation. Whilst obvious that these should, and indeed do, relate to the collection itself, it is beguiling that the designer herself, even during such a busy time, should embody these things so wholly. It is a testament not only to Lee as a designer and boss, but to the full-bodied degree of which she invests herself emotionally into her creations.
by Thomas Marrington
Photos by Adam Slama
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