Markus Lupfer (Q3314)
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Markus Lupfer is a fashion house from FMD.
| Language | Label | Description | Also known as |
|---|---|---|---|
| English | Markus Lupfer |
Markus Lupfer is a fashion house from FMD. |
Statements
Markus Lupfer has been off the schedule for a year now. “Has fashion week already started?” he asked at the beginning of this appointment, as if to prove it. On the rails, unworn but not forlorn, this collection featured some handsome pieces: a skirt and pair of wide-leg pants cut in two elastane-shot wool checks, a ruffle-front blue lamé dress, a vibrant mohair sweater in magenta and scarlet with his signature gappy incisor and full-lip logo, and the printed dresses featuring a drawn horoscope print. In the look book images tacked to the wall alongside us, these dresses played nicely against emerald hosiery. The lips lurked in a vaguely aloha-style bicolor botanical print used in blouses and dresses. Other sweaters featured fireworks explosions heightened by embroidered crystal sparkles, a campfire, and some mooonlit cloudscapes. Upon a print used on more dresses and blouses plus sewn in sequins on the arm of a black sweater, the clouds had turned to rain.
14 February 2020
This collection was shot alongside a large, melting ice cube to symbolize both environmental concerns and the heat Markus Lupfer wanted its wearers to beat next summer. The designer concedes that he has not been among the first to put sustainable practice to the fore, but he is moving in that direction. This collection contained organic cotton T-shirts, and more, he promised, is to follow.The designs on those T-shirts were circling dolphins, part of an aquatic-themed collection. Prints included an “underwater garden” print (basically fish among flowers) and a cute school-of-fish print. These were deployed on light white viscose sundresses, or patched onto crispy poplin shirts or printed in appealing color combinations on irregular pleat patch crepe day dresses. Fictional Lupfer marine-resort patches were stitched onto the pockets of pink or khaki drawstringed work shirts in corduroy, which were hung alongside matching carpenter’s pants. The designer had reworked his lip logo into a broderie anglaise, used winningly in wide skirts or as patched high capelets on T-shirts.
17 September 2019
Markus Lupfer took a trip to Tanzania last October to observe the wildlife of the Serengeti, and his memories of it migrated their way into this Resort collection. A skirt, a sweatshirt, and a V-neck short-sleeve day dress repeated elsewhere in black came in a finely drawn print based on the photographs Lupfer took from his Land Rover. Cheetahs, zebras, and meerkats were reproduced in sequins on cashmere sweaters and the back of a split-hood woolen varsity jacket. A series of dresses and shirts shown here in navy blue were decorated with an abstract giraffe pattern.Out of Africa, there was an attractive tailoring story that teamed a high-lapeled jacket in gray check with a sporty midcalf elastic-waist pleated skirt. A three-tiered skirt and roomy overcoat came in the same fabric, which played well against Bengal-striped shirtdresses. Lupfer sprinkled his pieces with pretty pale blue floral paillettes, but only sparsely: This is a designer whose long-held maximalism has become increasingly dialed-down. Instead, the punctuation marks that ran through this collection were bold thick strokes of black writ in scarves, headbands, and twisted sash belts at the bosom or waist. His incisor-flashing parted lips logo featured on knits and was incorporated into a grid pattern that appeared on prim shirtdresses in the pale blue of the paillettes as well as a pink. Lupfer is working to produce garments his customer will want to inhabit long-term, rather than frothing up one-season wonders, and the results look good.
8 June 2019
Out with the sheerness. Ciao to the lace. Auf Wiedersehen to color clash. As his label hits the big 2-0, Markus Lupfer is Marie Kondo–ing his brand language to retain only that which gives him (and by extension, he hopes, his clients) joy.“I wanted to clean everything up and move it on. To get some fresh air into the collection,” said Lupfer this afternoon. Moving stuff out allows you to bring in the new, and this season he focused hard on mono-color looks of many layers. On a foundation of Salomon geek sneaks, he built ensembles of long pleated skirts, voluminously sleeved rib-knit Italian cashmere sweaters, and variations of the parka and duffle coat with faux fur trims cut in hard-wearing wool from AW Hainsworth of West Yorkshire. These were sometimes accented by fringed scarves, or extra sweaters, or featured restrained-for-Lupfer crystal and enamel embellishments. The colors were uncomplicated; scarlet, navy, white, black.There were some asides into pattern and quirk. Skirts, bombers, and parkas came in leopard faux fur; there was a pretty desert-flower print on a skirt and dress. A cute horizontally whiskered cat portrait was a rare intarsia incursion into the monochrome knits. Crazily oversize faux fur mittens looked like intervention garments for applying a digital detox. We’d seen oversize trapper hats elsewhere pretty recently, but they spoke to this context too. Happy anniversary!
16 February 2019
After more than 20 years living in London, German-born Markus Lupfer might not yet have taken British citizenship—because until recently, why would he even consider it?—but he does feel powerfully British-ish. This collection demonstrated that familiarity in pieces that were unapologetically inspired by the horse and hound-y tradition of Anglo country clothing. Quilted liner coats—plain dark olive or in windowpane check—came fitted, glinting with chunky hardware. Skirts in a mumsy check were given movement through plissé and twist via slanted hem.Dresses and skirts came in whippet print or floral, plus colorblock jolts of Mini Cooper green and smack-in-the-chops fuchsia. Slashed knit sweaters in maritime navy and cream, or matchy-matchy rib-knit cashmere in camel, or tracksuit-meet-twinsets in space-dye gray on black knit were all versatile examples of Lupfer’s key specialism. Flocked spotted tulle dresses layered over slip inserts or under midnight-blue sequin over-dresses were the seasonal nod to the transparency story he so reliably riffs on. A teddy bomber looked snuggle-able in the extreme. Traditional in reference yet nonconformist in outlook, this collection was packed with entertaining pieces you could easily imagine rebel-phase Princess Margaret raising havoc in had she been a millennial.[
12 December 2018
There are certain signature pieces Markus Lupfer almost always shows, including embellished bombers, (often lacy) track pants, and casual knits with quirky graphics, but today none of those were present. Instead, Lupfer presented a very focused and consistent series of silhouettes which—with the exception of a pair of shorts under a gray-and-white gingham jacket, a fitted knit dress, and an aside of patterned pantsuits—were classic fit and flare.The interest came in the interplay of his textures and pattern, and the way he built versatile outfits that could be deconstructed. The foundation was slip dresses, either plain or sequined, which were layered under a series of plissé tulle dresses in Memphis-inspired pastels and pattern, with the odd scattering of extra embellishment. These dresses were sometimes served asymmetrically hemmed, other times with folding details on the chest, on occasion with a shiver or ruffling at the deep-V neckline, or with ribbons at the shoulder. When Lupfer pulled apart his silhouette to allow for separates, he countered the softness of the plissé skirt with a short-sleeved silver leather work shirt (over another sequined slip), or striped knits whose ribbing was meant to echo the plissé. The knot-them-yourself tulle-strap shoes were a pretty counterpoint to the argument above them. Lupfer said he imagined the pieces as romantic beachwear—which was stretching it a little—but the gentle push and pull of the elements in this collection was carefully considered and breezily effective.
15 September 2018
“Where do we come from? Where are we now? Where are we going?” Markus Lupfer was pondering some pretty big questions as he considered this Resort collection. Answer-wise, the clothes laid out in his Shoreditch studio offered some obliquely suggestive options. For starters, the print of the season was a landscape that roamed with florals overlaid with cute little dinosaurs—because we’ve evolved.As for where we are now, well, Lupfer presented a rounded overview of his designer signatures. His lip logo kissed embroidered T-shirts, while mixed panels of print adorned loose, long viscose dresses or higher-hemmed versions worn over fitted embroidered pants. There were the obligatory sheer embellished dresses and shirts. For Lupfer lovers disinclined to wear dresses, he did silk pants in a raspberry windowpane check, shown with irregularly flecked bouclé sweats. Away from the lookbook rack were some fine toned-town lounge pieces in ribbed cashmere.And where are we going? Here, Lupfer presented a few options. Drill trenches and denim jackets were fresh for him, as was a Bengal-stripe alt shirt, soft suiting, and buttoned and belted miniskirts in a powerful red and pink. Perhaps the finest pieces of all were some pleated dresses and skirts in a feather-light printed fil coupe.So why is Lupfer asking such big question now? Probably because the end of this year marks his 20th anniversary in business.
1 June 2018
This was no collection for shrinking violets. There was a smack-you-round-the-face check story via blanket coats, sweaters, and skirts, plus cute gathered dresses and shirts printed with a further painted check. A woodcut-inspired leafy floral rioted across a blue-on-bronze jacquard suit, embroideries on paneled lace tops, and in print on more cotton dresses. And then there were the sequins.Often topped by faux-fur bomber jackets and always set upon shoes featuring fringing, more faux fur, and crystal, the Lupfer looks on show at the Swiss Church in Covent Garden seemed pretty typically powerful renditions from the designer’s full-throated songbook. And yet there was a noticeable change in pitch. Checks and florals are perhaps the two most fundamental decorative genres in womenswear: Where were this season’s UFOs or puppies or tattoos? Where was the Lupfer twist ’n’ quirk?It’s possible there were plenty of whimsical oddities left out of the presentation but retained on his bread-and-butter knitwear, and it was interesting that Lupfer’s first comment about the collection was a determination to make garments with longevity, “something that feels precious and that you want to keep in your wardrobe for a long time.” Perhaps it was for this reason that, this season, his trademark decorative eclecticism felt turned down a notch or two.
20 February 2018
“The color clash was one starting point. And then I wanted things to feel very handmade and artistic. We looked at different artists and thought about the Bloomsbury group and worked to give the clothes a handmade feeling—of things not being so precise.” Such was Markus Lupfer’s summation of a collection that seemed simultaneously consistent with the previous 19 I’ve reviewed (in that sense of color, the knitwear, the playfulness) but also represented an evolution.Lupfer has long moved on from his gauzily sheer, ultra-embellishment stage to a more grown-up but equally characterful design identity. Here there were a few long and loose (but cinch-able by drawstring) dresses in crepe or viscose featuring Arts and Crafts-y mismatched block-print panels or prints of florals scattered among a scrawled emblem that read “the future is handmade.” Wide-legged cords and matching bomber jackets in rust, khaki, faded pink, and baby blue played nicely against specialty knits featuring intarsia or sequin illustrations of rabbits, teapots, and other gently kooky doodles. Lupfer’s gap-toothed full-lipped logo was reproduced in washed painted panels on shirting or split down the middle then reassembled wonkily on sweaters. A black sweater, a trench in a pleasant Italian check cotton, and a metallic-hued lip-jacquard dress all featured cute short cloaking at the shoulder, and there was a gentle suggestion of make-do-and-mend in a patched-together field jacket, a three-tone jacquard trench, and the use of mismatched buttons.You get the sense that Lupfer knows his customer and moves with her. If so, then this season she wants to appear carefully careless in her un-put-togetherness via a collection that was designed to look spontaneously assembled and which was, of course, anything but.
13 December 2019
“When you look at the bigger picture there is a lot of craziness going on in the world. You want to get your mind-set into somewhere different, somewhere really loving and nice.” So mused Markus Lupfer as he gently tickled the ears of Bertie, his miniature dachshund. Lupfer’s instinct for flight took him far this season: Sci-fi comic and and pulp covers from the ‘50s inspired him to incorporate stylized rocket ships into a floral paisley pattern with intarsia knit, and there was a semi-eclipsed spotted "moon" polka-dot pattern in white, yellow, and pink. Less literally extraterrestrial but equally escapist was a “utopian floral” featuring cutesy deer, squirrels, and bees lurking within a meadow-scape of foxgloves and bluebells.Despite all these decorative declarations of yearning for a happier place far, far, away, Lupfer spent much of this excursion treading reliably familiar territory. Yes, there was more asymmetry than he usually favors, lots of long dresses, and a great new three-style collaboration with Bass Weejuns of tasseled, satin-ribboned, and sometimes-studded penny loafers in no-nonsense black. These new ingredients were incorporated into the usual Lupfer blends of sporty, sirenish, tender, and tough. The utopian floral was especially lovely in a mustard velvet fabrication on blouses and sectioned dresses. Crepe de Chine skirts featured Lupfer’s favorite central ruching detail and chiffon trims at the hem. Of course, there were track pants and bombers. Also: some nice lace and waffle-stitch knits in gently off-kilter shades and cute T-shirt dresses in technical jersey with a neoprene sheen, ruffle details, and embroidery at the shoulder. Lupfer’s orbit remains constant.
8 January 2018
Very, very vaguely, this was a collection about pools and swimming in some idealized, sultry, Slim Aarons–shot vision—the ’40s-esque swimming pants, the pretty blue and orange floral embellishments on sheer dresses (Lupfer said they were sourced from vintage swimming caps), and certainly the sense of saturation that follows once immersed within this designer’s maximalist universe.Cabana shirtdresses (whose skirts were sheathed in organza and teamed with turbans) featured a vibrant print—in blue or orange again—of silhouetted simians climbing through a floral forest. They romped further across a full-length crepe dress in green, cinched at the waist with pinned belts.Lupfer made some leaps himself, translating motifs (including a splash and a bloom emerging from six fronds) across his prints and knits. He translated these same motifs into earrings and detachable beaded decorations worn at the wrist or shoe. Wide black lace pants and a pink jacquard romper—flocked, to resemble terry—added ease. The presentation space was walled off by a wave of white balloons and the models arranged around and on furniture upholstered in the same prints they were wearing. It was splashy, happy, and visually loud: worth diving into.
16 September 2017
Take the long and lean prettiness of ’40s fashion. Mix in the lurid Lurex lustre of ’70s glam rock. Then dilute with a splash of aquatic, diver-inspired graphics.Markus Lupferis a consummate mixologist, and for this season’s cocktail of choice, he assembled a typically disparate pool of ingredients which, once blended, worked compellingly.Feathered and beaded narrow belts punctuated dresses, skirts, and shirts in purple or iron oxide Lurex shades. These were sometimes played against soft crepe viscose pieces imprinted with a bathing-capped swimmer whose body was arched mid swallow-dive. One yellow dress in the print had a panel of black mesh at the waist inspired by swimwear design to bolster it to the body. Tropical-print shirts and pajama shirts swayed above cuffed leather short-shorts, and sleeveless tops with wide panels of striped ribbing were accented with sheer panels of polka dot or diver print. There was a cute gray short-suit whose jacket’s pocket-flaps were lined with ruffle. Long lace and tulle dresses were overlaid with those flowers and more divers too. These motifs continued over to the knits, tees, and Lupfer-staple bomber jackets. Another motif less repeated was a handsome fantail goldfish, expressed in pearlescent beading on a T-shirt and in flocked emerald velvet on a really fine peachy-pink viscose dress. Well worth diving into.
8 June 2017
Unexpected combinations are Markus Lupfer’s reliably deployed forte: Again today, he threw a bunch of disparate ingredients into his blender and whizzed up a zestily fun collection. The recipe included braided hiking cord used as belts, button fastenings, and drawstring on sports sacks. To that, he added a venerable menswear check used on a volumized, double-faced and double-breasted wool suit, as well as on bags. Add a soupçon of sports-meet-street—a cracking oversize navy bomber, lurex slim-fit track leggings worn layered under skirts, and Lupfer’s sheer sweats.The designer’s eye had turned to the far north and south, thus the decoration featured jacquards and prints of a fine-looking polar bear rearing forth from some kind of Icelandic thistle, plus a penguin picked out in sequins on one of the sports sacks. The polka-dotted chiffon shirt under a check suit occasionally replaced dots with planets as a nod to the endless unpolluted skyscapes. The flowers were rearranged as embroideries and sequin inserts on his sheer pieces and shearlings, which included a mighty white greatcoat with wool and crystal at each sleeve. So mighty, in fact, that its wearer needed regular rehydration to handle it. The presentation was held in an office building by Tate Modern that afforded a sunlit view across London’sBlade Runner-ish, fast-evolving high-rise skyscape. Lupfer’s clothes, despite all the kook and whimsy, looked ultra modern and elegantly quixotic. The biggest surprise today was the arrival of a new member of Team Lupfer. Bertie is the most adorable miniature Dachshund puppy you have ever seen: With the right coverage, he has the looks to challenge Hector Browne as the cutest canine influencer in fashion.
19 February 2017
There are certain elements one can almost always depend upon Markus Lupfer to deliver: bombers and field jackets quirkified with embroidery; lace and embellished organza aplenty in parkas, skirts, or dresses; and soft, figuratively fronted knits (his best-sellers). That’s not to say he’s formulaic—far from it—but Lupfer is a designer who starts from a baseline template then cavorts into seasonal variation by digging into detail.For Pre-Fall Lupfer referred to three pillars of source-material: rodeo, punk, and military. He threw in plenty extra too, asserting a “wild swallow” bird motif on his knits, in pretty pleated hand-painted print skirts, in the gold-on-silver jacquard of a fine bomber, and even on the badges of his bouclé biker. Then there was the “poison rose,” which flourished in tufted blue embroidery on black organza skirts and shirts, in multiple-sizes on a sweet chiffon dress with sheer sections strafed by gold Lurex, and, of course, on his sweaters.So much all at once! For his lookbook shoots and presentations, Lupfer combines his myriad ingredients rather masterfully to express aesthetic rebelliousness through unquenchable eclecticism. Sometimes, though, it’s as fun to look at his pieces on their own: Here some standouts include rodeo shirt knits, that jacquard bomber, a lovely horsehair biker, and some high-waisted paperboy drill pants in khaki and navy with a handsome undulation to their silhouette. Also interesting to consider is how much of Lupfer’s signature vibe comes from the sum of his parts—the elements of his looks once assembled—rather than the pieces in isolation. Arranged on a stern-faced Cool Girl, as in the shots, you can see how his vision translates to the grungy archetypes Lupfer said he had in mind while shaping the collection: PJ Harvey and Courtney Love. Yet on the rack, a scoop-necked, loose-cut velvet minidress in that rose design signals sugar more than poison. It needs to be inhabited and added to seem subversive rather than straightforwardly sweet.
6 January 2017
The floor of this installation, gridded with identically bland metal tiles through which odd square patches of wildflowers occasionally sprouted forth in riot, was both pretty and meaningful. Because today, Markus Lupfer presented a collection shadowed by the thought of youth fashion subcultures—or, more specifically, the lack of them.In a world where everything is shared online, mused Lupfer, how can different styles and aesthetics incubate long enough to flourish in their own particularities before being pushed out into the voracious blizzard of digital scrutiny? “Because when things are so open and in the air they cannot grow," he explained. "So the question is, do you need to develop something in secret?”Lupfer didn’t claim to offer any answers to his questions. Yet he did his signature best to deliver a tight selection of bright clothes that sparkled with the interplay of contradictory codes. Sequin-traced boating stripes on silk pajama joggers and twinsets were secured with leather twists and gleaming D-rings. Mesh was paneled with silks whimsically printed with hopping bunnies and cats mid-leap. Parkas in slick black nylon were worn wound by chains around waists as pragmatic peplums. A little bit pastoral, a little bit badass, a little bit Public School, and a little bit bondage, this was a typically Lupfer sum of many parts—none of them standardized.
18 September 2016
Aside from the sharp twinge of regret that two British-milled, fine drill outerwear pieces won’t be cut as menswear, there was only one thing fleetingly to lament in this Markus Lupfer collection. Those standout pieces—“girlfriend jackets,” let’s resentfully call them—were an olive M65 with an embroidered crane on its shoulders and a cropped blue car/cadet coat hybrid with superwide billows pockets and more embroidered wildlife. Alongside a trench, a bomber, a joyously soft olive jumpsuit with beaded faux-regimental flashes, olive culottes, and some chinos, these lead a battalion of military pieces. Against them was ranged a cool-girl counter-attack of zingily pink lace shirting and skirts, richly colored leaf-and-leopard camo palazzo pants and shirting, plus a detachment of dresses that combined a golden bee at night jacquard with animal-beaded organza and twining circlets of plisse.That second cause to carp? The coiled snake motif has been a popular decorative motif since, well, The Fall (and I don’t mean last autumn). Right now though it feels comprehensively squatted byGucci; another creature would have been far fresher as a recurring theme in this collection. But no biggie.
14 June 2016
It’s hard to miss aMarkus Lupfergirl. This season’s iteration came heaped with the designer’s signature decorative punch, albeit targeted a little more tightly than in previous outings.There were two separate elements at first: a floral motif (pink-petaled and blue of stigma), and an argyle that had been rudely rearranged from its usual golf-sweater diamond formation. These were either printed or hand-applied across ruffle-necked gauze-armed drop-down dresses, boots, half-sleeve long-length oversized coats, silk-crepe pants, blouses, and the odd knit piece too. Some pieces were decorated in triplicate: machine-embroidered, then hand-embellished, then seasoned with sequins. Lupfer’s new lip-stud motif was applied to a leather jacket worn over a sheer skirt gilded with a mash-up of the designer’s dual decorations, a different floral pattern netted by a diamond grid drawn in gold. Lurex metallic plissé skirts added some evening oomph.Said the designer, “I was thinking about 24 hours, what this girl is doing—waking up and being relaxed, going through the day, then to a disco party.” Capes apart, it was all pretty disco-relevant, to be frank. For even when his silhouettes are longer and softer than usual—as they were today, Lupfer’s clothes pack an infectiously up-tempo punch.
20 February 2016
The headline atMarkus Lupferthis season is his first collection of handbags. Its span is modest—one D-ring-clasped, expandable accordion model that comes in three sizes, as well as a cross-body sling and a tote. These are variously decorated in studded shearling, graphic crystal gridding, or little golden studlets in the shape of angular pouting lips. The retail price points Lupfer mentioned—at this stage, aspired to rather than set in stone—seem highly competitive for Made in Italy products.The second move chez Lupfer has been to reclaim his shoe production from a license arrangement. This was celebrated via some aligned brand language—the block heel on his plastic-feathered back-strap sandal was shaped in that same lip motif (which also contains anMand anL). The rest of it? Well, kinda the same old, but happily so. Lupfer’s emblematic garment, the sequined fine-gauge-knit sweater, bore the regal relief of a swan. This pointed to a collection that the designer said was broadly flavored by northern European folklore and fairy tales. The faux-naïf floral embroideries and patches that encircled a peppered suede trucker jacket, or which popped from the back of a dark drill cape, might have been carved into the lintels of some warty witch’s come-hither candy house. There was a rich forest-floor pattern, pink petal and green leaf, on jacquard dresses and separates, plus printed on silk bombers and drawstring pants. Occasionally it competed with a soft-focus wide-lined check. The busyness was tempered by silhouettes that—except for the odd ruffle on a neckline or sleeve—were cleanly drafted enough to prevent descent from folksy to hokey. This was a collection with a good amount of engaging kookiness to keep Lupfer lovers content for the season. And the arrival of those bags hint that this carefully incubated label is enjoying a growth spurt.
21 December 2015
As fashion formulas go, heaping playful decorative motifs onto a template of featherlight streetwear seems promising. And it certainly succeeded forMarkus Lupfer, who this season presented a confident, tight variation of his it-just-works recipe. His theme was so out of left field as to seem arbitrary: flowers and Mexican wrestlers. As he explained it, “I envisaged this hard desert land. Then it starts raining and fields of flowers bloom.” Chrysanthemum embroideries rustled around illustrations of ham-thighed, colorfully masked wrestlers on T-shirts and sweatshirts made of French lace, or black organza skirts, shorts, and bombers. Chokers and vulcanized skater shoes were garlanded with more blooms in beads, pins, and sequins. An appliqué wave rippled across more organza, while Lupfer’s strongest traditional evening proposal was a rose-gold flower-heaped fil coupe shift with a layered underskirt. Printed drawstring silk-mix track pants, shorts, and tees, meanwhile, were the pieces you could imagine buying and wearing straight out of the store. Imposing sometimes-borderline OTT decorations onto elevated versions of pieces that so many young women wear every day is a pretty sweet niche, and Lupfer has clearly made it his own.
19 September 2015
The galleons-at-sail, darting birds, hearts, and daggers that peppered some of Markus Lupfer's Resort '16 track pants, parkas, and fit-and-flare dresses could have been traced straight off the tattooed arm of some rum-punched seadog asleep at the bar on shore leave. To navigate the nighttime—although it was totally daywear-appropriate, too—starry constellations came sprinkled on separates. Another jacquard starred scallop shells, while a compass, a lobster, and a pug rocking a sailor's hat at a jaunty angle were sequined onto the front of T-shirts.Unlike so many salt-flecked collections, though, Lupfer's steered clear of stereotype. When stripes starred—in fade-edged, wide, horizontal Lurex—he hoisted them far enough from the overfished stock of Breton/naval to pass muster. There were no gold epaulettes—blessedly—although the ribbed sportswear cuffs on his bombers were striped by metallic flash. The closing passage of sailors' tattoo embellishments on black sheer organza in a bomber, a blouse, and a T-shirt minidress represented the closest thing to a mutiny against this collection's boyishly luxe-touched message. The shoes (zoom in, it's worth it) were particularly good—embellished NB-ish sneakers and cut-strapped sandals. Those who voyage in search of pragmatic, expressive, luxurious athleisurewear should chart a course for Lupfer.
16 June 2015
The headline here is a series of pleasingly quirky jacquards developed by Markus Lupfer with an English tie specialist, which were cast into romper suits, bombers, skirts, and pants. Fine-gauge knitwear peeked above patterned necklines and out from under sleeves. Topped by happy Linda Farrow shades and bottomed by Lupfer's Portuguese-made old-school sneakers with sparkle, the proposition was fun, young, and convincing. At the presentation an odd collection of unpotted plants hung suspended from fishing line alongside a fishbowl full of white rabbits nestled in straw. This aggressive kook teamed with the casual luxe of the fawn-patterned jacquards was a mite reminiscent of Emma Hill's lamented Mulberry, but with a powerfully relevant street-touched sportiness. A green frond camo parka worn over a complementarily botanical fil coupe dress and trainers was richly frisky. Some finely cut wide black pleated crepe trousers looked loose and freeing under a maroon jacquard bomber. Lupfer seemed cheery and reported that his business is hopping along nicely—no wonder.
21 February 2015
Slogan tees, novelty sweaters, sparkle everywhere: These have been the cornerstones of Markus Lupfer's aesthetic in the past. He hatched what he called a more "refined, off-duty look" a couple seasons back, but for Pre-Fall his approach is his most sophisticated yet. A series of strong work-to-party looks came in a snow-capped mountain jacquard, while another series in matellasé resembled bits of confetti. Prints are a new strength for Lupfer, evidenced by a charming circus-horse motif that appeared on key pieces. As impressive were a wool skirt and top meticulously hand-sewn with oversize crystals. A versatile stadium coat had touches of teddy bear material sourced from Steiff, the iconic German stuffed toy company, making Lupfer's the most authentic teddy bear coat we have yet to see.
19 December 2014
Markus Lupfer is a fun guy. The German designer has nailed the formula for light, youthful clothes, and for Spring he had surfing in mind. The scene was set as a beachside café, complete with wooden boardwalk, tiki hut, martinis, surfboards, and a lot of dancing models.Ocean waves made their way onto a jacquard print with Lurex threading that mimicked water in motion. It came in aqua blue and sea green, and was used on sweaters, party dresses, bomber jackets, and miniskirts. Vinyl holographic pieces that changed color in certain lights stood out: The models, when asked, said the clothes were comfortable, not sweat-inducing (they had cotton on the back, and were loosely cut). Wet-suit detailing and zips that were reminiscent of life jackets reinforced Lupfer's theme. Mannish trousers in that wavelike pattern had a sporty tomboy feel.Lupfer showed off his cutting skills with a trompe l'oeil effect on the vinyl skirts: They were designed to look like a wraparound but were actually made from one piece. The result was a clean, tight look. The kicker was the shoes—jellies with crystal details in Chiclet gum colors that represented the designer's first move into the footwear market. The playful shoes may also have been influenced by Lupfer's newest project: He's in the process of creating a childrenswear line for Lane Crawford.
13 September 2014
Markus Lupfer has been around for at least a decade and a half, but he showed us this season that he is not beyond a growth spurt: "For Resort 2015, I wanted something a bit more grown-up and unique, not just the silhouette, but also the fabric. So we made prints and fabrics that to us felt richer, deeper, and very much our own." His slogan-sweater-wearing girl is suddenly more soigné, a message he telegraphed with a ladylike cocktail dress in a subtle Lurex jacquard. The new elegance continued in a tailored jumpsuit in a floral matelassé. Incidentally, it's the first time he did a jumpsuit, and he did an exemplary job.The designer is of the firm belief that if you don't love textiles, you don't love fashion—and he spends as much time toiling over his materials as he does actual creating. One such textile was the orange and indigo fil coupe he used on skirts, bomber jackets, and dresses, layering it over bright cottons to create a patterned motif. Though he said the pattern was meant to be tribal in nature, it looked more like a chevron or a geometric graphic to this reporter, a case of mistaken identity that delighted Lupfer: "I didn't want to be too overt in my tribal message but for it to have a modern tone. So if you see something else, that's fine by me."Lupfer's best-selling silhouettes also appeared: City shorts, a crop top, and a full skirt hit all the commercial notes. A skater dress with cutaway detail at the waist and a body-con dress with thick elastic straps ticked the work-to-cocktail-hour box. But there had to be fun, otherwise his die-hard fan base would never forgive him. For the loyalists, there were jungle-, monkey-, and banana-print looks, not to mention a slogan sweater that said, "Fun Forever." All in all, Lupfer managed to keep his brand DNA of youth and cool, yet showed steps toward a new maturity.
17 June 2014
German-born Markus Lupfer is a textbook Anglophile, but he's not just interested in the posh highborns; he celebrates all classes—hence, his take for Fall is "the full English," a holiday weekend in seaside places like Blackpool or Brighton. Lupfer's models were lounging around in the "Lupfer Café," tucking into a lunch of chips, hot dogs, and milkshakes, while doing crossword puzzles and playing bingo.The models wore slogan jumpers that said, "One Sandwich Short of a Picnic" and "Bingo." Sweaters had cute motifs of crossword puzzles and the pigeons that plague picnic tables everywhere. All fun and games? Yes and no. Underneath it all were some serious craftsmanship and a massive nod toward commerciality. A Scottish tartan suit didn't say lady of leisure, but office worker. Ditto the giant polka-dot-print skirts, bomber jackets, and Lupfer's now-favorite shape, the skater dress—all guaranteed to be wardrobe staples. Gray flannel suits looked like no-nonsense work uniforms, but with a little humor courtesy of some teddy bear fake fur on the collar. A dress with a panel cutout in the center said fun—but put a white shirt underneath it and, voilà, perfect for the office! A keen businessman, Lupfer is more than aware that his client has to finance those weekends away.The collection also saw a return to the slogan sweaters Lupfer swore off last season because of copycats, and his specialty, the merino wool sweater. This season's version came color-blocked in the softest cable knit, in three different sizes and shapes. For the cabbage-rose print, Lupfer used a mohair fabric, but it was ingeniously coated for another cool effect. With him, it's all about the details.But could the designer be stuck in a loop? Most of the silhouettes from season to season are very similar: He keeps churning out the old favorites, mostly because they sell. But given his technical prowess and head for business, perhaps it's time to push it a bit. A gown, a statement dress, a frill, a thrill—something out of his comfort zone would be nice to see.
14 February 2014
Last season, Markus Lupfer began moving away from the slogan sweaters that have lately defined his career. With Pre-Fall, that trajectory continues. He included just one novelty knit. "Leave me alone," it declared, a statement that neatly summed up the moodier girl he's designing for now. She's "the older, meaner sister of my girl from previous collections," he said. Where last season's cat motifs were cute and cuddly, here they were rather more confrontational. A graffiti print added to the toughened-up look.Merino wool was once Lupfer's other calling card, but he's expanding his repertoire in terms of fabric. Of particular note was a brocade tweed with an iridescent sheen, a high-tech cotton jacquard in an oversized floral print, and a glossy velvet accented with diagonal gold zips, which we're betting will be a customer favorite. Silhouette-wise, things were short and sexy; there were frilly-hem mini and skater dresses in profusion. Next up, Lupfer will be designing eyewear with Linda Farrow.
17 December 2013
Markus Lupfer's presentation was set up to feel like a teenybopper's bedroom, full of girly stuff, just missing aTiger Beatcover on the wall. But perhaps the most striking thing was the lack of merino wool sweaters emblazoned with lips, perfume bottles, and slogans. "I had to peel back a bit from that," said Lupfer. "My slogan sweaters were being copied so much, I had to find something else. I suppose in a way it's good, as it's making me find a new signature."If this collection was the upshot of that process, then the whole imitation/flattery thing has served Lupfer well: There were some very pretty alternatives to those sweaters here. A series of delightfully ditzy floral prints was inspired by "a bedspread that I loved as a kid," the designer said. "Very cozy and inviting." Soft denim chambray looks with tiny embroidered bicycles and slogans were instantly covetable, as was a white damask floral series. Bigger slogans weren't completely absent, however: Hidden behind floral bomber jackets were T-shirts that read "Loser," "Lame," and "Jerk." "Yes, this girl is a bit of a rebel," said Lupfer. Apparently, she's also a cat lover: There were "Meow" slogans and cat faces embroidered throughout—perhaps a nod to the copycats that are forcing Lupfer's hand.Lupfer has always struck a certain chord with women—so much that it's carrying over to their daughters. His children's line at Debenhams, co-designed by Donna Air (girlfriend of the Duchess of Cambridge's brother, James Middleton), is proving a success; his collaboration with ASOS, featuring unique reworkings of leather, caused plenty of excitement. But like with all good designers, his imitators are forcing him to move forward—and his customers will probably be happy to move on with him.
13 September 2013
Markus Lupfer has developed a taste for the general. Last season, the inspiration for his collection was the magnificently non-particular topic Art. This time out, Lupfer was feeling Music. Of all kinds, from all places. The predominance of check here indicated a debt to grunge; elsewhere, Lupfer's sequin print and mirrored paillettes put you more in mind of the showgirl costumes that pop tarts have worn onstage since time immemorial (or the sixties, at any rate). You could also see a bit of punk in Lupfer's zip-articulated skirts, but that's probably a theme best laid to rest for a while.At any rate, this collection looked sharp. The shapes were nothing mind-blowing but nicely judged in their proportions and easy-feeling without being sloppy, while Lupfer's check had a nice hint of acid in it, and his fabrications were canny, with the same zippered skirts done in yellow silk shantung and a squishy red technical jersey. The choices all felt very specific—in contrast to the inspiration.
11 June 2013
There was an interview with Tavi Gevinson on the radio a while ago, in which she described one of her favorite gifts from a teenage fan. It was a DIY bracelet, she said, and it read, simply, "Poetry." Amazing, that—it's like a Livestrong bracelet for the community of the sensitive and the literary. "Poetry."There was a similar charm to this season's Markus Lupfer collection. One of Lupfer's cashmere sweaters was inscribed with the word "Artist," and various of his looks incorporated a brushstroke print, and an anonymous sculpted torso, and sequin embellishment that riffed on Mark Rothko's color-field paintings. This was an affirmation of Art—not any specific artist or school, but Art-in-General. With his tongue planted ever so loosely in cheek, as is his wont, Lupfer celebrated the mere existence of the creative spirit. That theme provided the element of whimsy in what was otherwise a very straightforward collection. Lupfer emphasized silhouettes that were angular and frou-free, and his preferred material this time out was a mirrorlike patent leather. Likewise, his palette ran to crisp black and white, with a touch of blood red and bruise blue thrown in for good measure. There was an unmistakable sense of toughness here—Lupfer's girl may love art, but it seemed she was spoiling for a fight.
14 March 2013
It's a bit of a shame that word got out ahead of time that Markus Lupfer's new collection was inspired, or at least semi-inspired, byThe Jetsons. In theory, that was a reference the peppy and pop-culture-obsessed designer could really sink his teeth into: Mrs. Jetson's flared and layered skirt silhouette was made to be reinterpreted by Lupfer, for one thing, and there couldn't possibly be a man more in sync with the cartoon's sweet, goofy, optimistic tone. So what a shame, then, to discover that there was hardly anyJetsonsat all in the latest Markus Lupfer collection—just a nod in the direction of outer space, in the form of sparkly and luminous silvers and gravity-defying gossamer silks. What happened? This was a pleasant collection, but you come here for a little kook, a little bite. Not that Lupfer forgot himself entirely: His obsession with glittery things led him, eventually, to a print of diamond rings that was funny and genuinely fresh. The mind boggles at the good time he could have next season with that print as his starting point.
13 September 2012
The news at Markus Lupfer this season is materials. Forget the campy Lupfer lips, stretched here to even sillier proportions, and look past the novelty graphics like hamburgers and retro cars: Lupfer's a showman and he loves a bit of fun, but of late he's been addressing himself to the serious business of elevating the feel of his clothes, and this time out, it was his fabrics that gave the collection its punch. Take, for instance, the technical jacquard, used in a short, neon coral-colored dress with a cutout midriff. Up close, the jacquard, though pliant, had a cool, plastic feel in keeping with the inspiration of "American slickness." Elsewhere, Lurex metallics and coated tweeds echoed the theme. His coated tweed motorcycle jackets with ruffled peplums are going to fly at retail; likewise the metallic pants and short, kick-pleat skirts. Lupfer has a knack for making basic pieces that feel and look special—or, if you prefer, special pieces that can be worn like basics. Not a showman's trick, but still a good one.
17 June 2012
What with his affection for loudmouth graphics and his co-dependent relationship with his BeDazzler, Markus Lupfer sometimes gets written off as a young person's designer. Now, the kids do love Markus—and chances are they're the customers keeping his line in the black—but Lupfer's latest outing deserves a look-see from grown-up girls, too. The best part of the new collection comprised tailored dresses, cigarette pants, and circle skirts made from rich, jewel-colored brocades and cut with a sporty mien. The material played well with Lupfer's black leather looks and slightly hallucinogenic oil-spill print, too. Per usual, the collection wasn't short on punchy knits—sequined, this time out, in sayings like "Carpe diem"—and they gave the collection some of that signature Lupfer comic kick. All in all, though, this felt like a pretty sophisticated affair.
12 March 2012
Humor is an underrated quality in fashion. Granted, no one wants his or her outfit to beaccidentallyfunny, but a designer like Markus Lupfer can make wit and playfulness go a long way. Lupfer's strategy is easily summed up: He makes feminine clothes and then subverts generic femininity by incorporating punchy, frequently surreal embroideries, prints, or intarsia knits. The danger in that modus operandi is that the clothes may veer too far into kitsch; this season, Lupfer got the tone right. His theme for Spring was the tropics, as it was for many designers—only Lupfer had the lunatic sense to work in parrot embroideries and pastel jungle prints alongside his hothouse florals. Somebody give that man a piña colada.In terms of silhouette, this collection juxtaposed the sporty and the soigné. The latter was amply represented in Lupfer's French lace pieces, including chic, sheer pencil skirts and cigarette pants intended to be layered over briefs or under long tops, and flared lace shorts that looked a bit tricky to wear. Sporty, meanwhile, got an airing in sweatshirt-shaped Lurex knits and a reversible baseball jacket, leopard-printed on one side and featuring a parrot embroidery on the other. Tropical-print playsuits and minidresses that could dress up or down nicely married the two moods. Overall, this collection had a bit of a magpie feeling—a bit of this, a bit of that—but it didn't feel incoherent. And the playfulness of Lupfer's embroideries and prints gave even the most simple shapes some kick.
12 October 2011
Markus Lupfer doesn’t usually make overtly sexy clothes. When he arrived on the London scene in the late ’90s, his style was all about revisiting ladylike classics with an avant-garde sensibility. But things have moved on, and Lupfer has now revved up his ideas to suit a leggy London girl who likes to go out. He’s also caught on to several of the trends emerging on the city’s runways: short jersey dresses, bright colors, all-in-ones and raunchy ’80s-flavored sport clothes.Lupfer updated winter combat pants, in white cotton, by simplifying them—cropping them at the knee and putting them with high heels and a drapey cream lace tank. His all-in-ones came as either loose, faded dungarees or fitted overalls that had nothing to do with auto mechanics. His dresses, in single shots of orange jersey or mixed-print chiffon, came short and bloused up at the waist, to give a flippy volume to the skirt. Throughout the collection, Lupfer found fresh uses for his well-known skills with print and leather. There were dotty, orange-and-white plunging swimsuits, bold neon-pink zigzags and punched-out summer leathers made into mini trapeze dresses and skirts. Looks like he’s left his artsy librarian far behind.
12 September 2002
Markus Lupfer's collection, shown in a lofty church in Notting Hill, was inspired by woodland nymphs, fairies and elves—part of theLord of the Ringstendency that is surfacing here and there this season.Lupfer may have delved into his German romantic imagination for the storybook sources of this show, but what he produces is always done with a light, accessible spin. He mixed browns, dusty pinks and soft, iridescent greens in layerings of antique leather and chiffon that moved his collection out of the ladylike mode he established in the late '90s, and into something hipper. For Fall, his emphasis was on texture and detail: pony-skin jackets, nut-brown leather skirts that showed a kick of black-and-white print in the pleats, delicate lace-printed chiffon dresses over cashmere sweaters. Standouts were his coats, especially a swinging modernized riding coat seamed to curve into the waist and a geometrically pieced brown-and-black felt patchwork overcoat studded with wooden beads. With the addition of tribal-influenced braids and leather and coin jewelry, the result was a boho look Lupfer's Portobello followers will relate to.
18 February 2002
The things to watch at Markus Lupfer are his twists on leather and print. This German-born designer, who trained with Clements Ribeiro, has gathered a following among editors and shoppers alike for designs that are interesting, without ever making a girl look like a freak.This show was high on femininity, color and detail. Lupfer opened with a flouncy skirt and sleeveless top decorated with vibrantly colored and patterned paperwork, like something derived from a South American carnival. It wasn't a costume parade, though: He followed up with photo-printed cashmeres and blouses, and intricately pieced superfine leather skirts and dresses cut and made so cleverly they almost looked like fabric. Some all-white looks—right down to belts and sneakers—hit a general Summer trend, while Aertex popped up again as a fabric of the moment.When Spring comes around, Lupfer's collection will be a place to snap up a few frills and some nice color, plus—new to him this season—belts, bags and shoes.
18 September 2001
Combining the best of Britain's creative energy with a self-assured sense of control, Markus Lupfer is fast becoming one of London's most important designers.Relying on precise tailoring and a stunning sense of color, Lupfer brought to life classic wardrobe staples and gave them a modern, subtly edgy twist. Simple turtlenecks and crewnecks in primary yellow, red and blue looked fresh and youthful with ribbon-front, pleated and layered skirts; masculine jackets were softened with draped lapels then paired with flat-front trousers; cocktail dresses relied only on a slight side cinch for a shot of swagger. Lupfer's fitted corduroy jeans and body-conscious bomber jackets were full of attitude, but his shiny, printed shift dresses looked sweet and elegant. Accessories included bright, see-through plastic belts that neatly tied together his structured looks.
18 February 2001
Marcus Lupfer's spunky Spring collection was all '50s rockabilly by way of the '80s. His street-tough vixens wore everything from a sensational one-strapped leather minidress with a ruched circular side seam to knit leather vests and strip-cut skirts. Plaid blazers gathered in back and tied in front with an internal leather cord looked tough and fabulous with slightly pegged trousers. Bouncy, '50s-inspired skirts to the knee, flirty dresses with draped backs and a red plaid shift with a tulle overlay provided a softer counterpoint.For many, London fashion week is the place to discover fresh new talent. This collection, which successfully balances edgy creativity with plenty of precision and restraint, puts Lupfer in a good position to gain the recognition he deserves.
24 September 2000