Hardship is a trigger for creation in the arts, and fashion designers are no different from their creative brethren in that regard. The travails of those fighting for individual and society-wide freedom was the engine that powered Oscar Carvallo's fall collection. Like bullets to the heart (both motifs were used in jewelry), the situation around the world inflected a reflection on how to transcend to the future, expressed in shapes that leant an air of futurism - as seen through an old-fashioned lense perhaps.
Alas, it was a pale and rather classic offering in soft rose-gold and bronzes, occasionally warmed by crackled patent or embroidered plastic. Forward-thinking materials, old-fashioned luxury and that hint of history brought together by a couture label, all the elements were there, but Carvallo failed to present a truly coherent vision through his clothes. It felt forced, as if he were drawing out his metaphor for the sake of finding a theme to unify his discourse. The best looks were undoubtedly those that skewed forward, past and present collided, like the opening tan group where leather structured the feminine form, the sheer navy honeycomb mesh dress worn over a metallic brocade playsuit or a funnel-neck white one with a gather at the waist seen earlier in the collection. A shimmer of Courrege-esque notions tried to prevail. Nevertheless, editing was a blockade that Carvallo, as often, didn't pass. Save our souls, it was called, but the collection lost its own to overexertion.
Later silhouettes caught the thread again, but too late. Although smartly delivered, the bridal gown, a walking installation created by mixed-media artist Pancho Quilici, kept with the futuristic by looking like the teleportation rings of Stargate, but even that failed to take us anywhere.