Davidelfin (Q2887)
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Davidelfin is a fashion house from FMD.
| Language | Label | Description | Also known as |
|---|---|---|---|
| English | Davidelfin |
Davidelfin is a fashion house from FMD. |
Statements
"The name of the collection is Tautology," David Delfin said backstage before the show. "It's a word I only learned a few months ago, but it relates very much to what I'm doing." Tautology, saying the same thing in different ways, may only recently have been added to the Spanish designer's English vocabulary, but it's long been part of his design lexicon.As in the past, repetition was his central story today—and, coupled with the somewhat glacial pace of the proceedings, it got old quickly. Delfin experimented with nylon straps—the workaday kind you find on camping gear and in your dad's garage—in non-workaday brights: caution-tape yellow, punchy orange, and electric green. These were the accent colors in a rigid palette of black, white, and royal blue. Delfin worked the straps as belts and on the shoulders of a gown. He also did a lot of cutting, shearing shirts off at one sleeve or, in some instances, leaving little more than the placket of a shirt front (there, the nylon acted as both a belt and a sort of suspender, holding the piece in place on the torso). There wasn't enough news here to hold the viewer's interest for long. Repeating something in different ways is one thing; saying the same thing over and over is quite another.
15 September 2010
The Spanish model Eleonora Bose, who made her name in the early aughts modeling for a Tom Ford-run Gucci, opened the show sporting a cropped helmet of Crayola yellow hair. Bose's square-jawed, androgynous look was right in line with the spare silhouettes.Words like "ecclesiastical" and "strict" are often applied to a Davidelfin collection, and adding to the mood of austerity this season was a black, white, and gray palette accented by pops of fuchsia and a shade that matched Bose's 'do. A lone print, taken from snakeskin, was a welcome relief from the monochrome.As was the case with Spring (which featured pants hidden behind a skirt front, and a shirtdress disguised as a cardigan and top), designer David Delfin played with the reorganization of garments, literally cutting them apart and moving the leftovers to other pieces. What looked like part of a miniskirt attached to a pair of gray wool trousers was actually the end of a blazer, pockets and all, that had been chopped off at the waist and moved down. "If you see a cropped jacket," the designer said, "you will see the bottom of it appear somewhere else." Interesting concept, but the results were alternately severe or just odd.Better was a sheath with a long blazer worn over the top; it was actually one piece that zipped up the back, with an overall slimming effect. A few flattering looks aside, there was an awkwardness to many of them (one model appeared positively hobbled by her coat-dress hybrid) that detracted from the strength of the tailoring.
17 February 2010
Though David Delfin is new to New York—he's based in Madrid, his real name is Diego David Domínguez González, and this is only his second showing here—this spring he actually marks ten years in the business, as well as a decade with his partner. In a mood to celebrate, Delfin set himself an unusual challenge: no black. The models would step onto the runway through a wall of fringe, clad only in green, navy, and white—a palette inspired by thePolychromieof Le Corbusier.Androgyny is central to the Davidelfin aesthetic, as are one-sleeved looks. While the latter, as of today, seemed a bit last-season, the mannish looks were more successful, with strict shirts and ties and some very wearable-looking trousers. According to the program, the collection had a "Reality gets confused" theme, which was reflected in pants that hid behind a skirt front; a top-and-cardigan ensemble that turned out to really be a shirtdress; and, yes, the obligatory skorts. Although well-executed and interesting conceptually, these pieces might pose something of a challenge on the selling floor, especially in hospital green, not a safe color by any means.The real standouts here were the knits (like a long sweater belted and paired with a tulle skirt and fierce color-blocked Christian Louboutins) and the jersey pieces (minidresses draped in front or with an unexpected fall in the back). Although the pacing was too slow, the show was focused and had an individual point of view, and for that we sayolé!
9 September 2009
The best way to understand David Delfin's collection, titled "Revelations," is to know that the designer—who imported his collection from Madrid to New York for Fall—plays a small role in Pedro Almovódar'sBroken Embraces. That simple factoid made sudden sense of the show's progression: It opened with strict and lean torero tailoring and closed with proto-fetishwear. A black wool top with floor-sweeping fringe added a touch of the surreal, while the counterpoint of black and white was, at times, almost ecclesiastic (when you averted your eyes from the uncompromising skintight fit and the models' sky-high patent pumps). If the sheer striped pieces looked like they were headed straight to video (cue the steamy music), a group of color-blocked "Chessy Rayner dresses," as one editor called them, were simply elegant. Delfin might have veered rather radically between the tacky and the tasteful, but he has a strong point of view, and that's worth its weight inoro.
12 February 2009