Photography by Irina Luca
It was a Russian winter in the land of Lundström. The show’s dramatic opening consisted of a phalanx of slickly choreographed models who marched down the runway in black and white coats and vests topped with faux Mongolian lamb.
Here were the high society women of Leo Tolstoy’s novels wearing their every-day-of-the-week best. Or better yet, here was what Sophie Marceau might have worn when she played Anna Karenina in the 1997 film adaptation.
A bevy of coats, cardigans and vests were accented with leather gloves, faux fur stoles and pill box hats. Several separates were also thrown into the mix, including one particularly Chanel-esque tweed jacket. The autumnal colour palette was a mélange of browns, camels and cranberry weaved in with heavy hits of black.
The collection’s focus on strong femininity was tempered by the softness of two tulle numbers — a short black ethereal dress and a longer mermaid silhouette. The latter, which seemed to be a crowd favourite, had a romantic, melancholic quality (just imagine Sophie Marceau wearing it in the ballroom scene in Anna Karenina). But the closing look—a floor-sweeping strapless silk gown—might not have been the best choice. After teasing the audience with tulle, paisley and chiffon, it closed with a fairly standard evening gown.
The collection’s Slavic sensibilities were pleasant enough and in line with the Lundström’s longstanding aesthetic
The standout pieces weren’t necessarily the luxe outerwear. They were little surprises like the paisley printed velvet tunic worn with a shimmering grey shrug and the black maxi skirt with the hooded fur topper. This along with the dewy, fresh-faced makeup and slicked back hair were small finishing touches that gave the collection a more youthful energy. And the youthfulness was needed to make the collection’s other choices, like the cranberry and eggplant colours for example, a little less mumsy.
The collection’s Slavic sensibilities were pleasant enough and in line with the Lundström’s longstanding aesthetic but most memorable pieces were the ones the label is not known for — that is, not fur or outerwear but the contemporary flourishes. Lundström’s in-house designers might want to take note and head in that direction.
