I am just so in LOVE with her flirty, flowery party dresses and graphic prints.  The dress above is by far my favorite. Now just need to figure out what to sell so it can be in my closet next spring!!

Vogue’s review by Sarah Mower: At some point, it would be interesting to see what Mary Katrantzou could come up with if she closed down her computer and stepped away from it for a while. She’s an artist, no doubt about it, and her talents are prodigious. She’s the girl who caused a revolution in the language of digital print as applied to fashion. When she began with her incredible trompe l’oeil techniques and never-before-seen merges of imagery, the impact knocked the breath out of her audiences. Not just that: Katrantzou is as rare a creature as some of the horse-cum-sea-creatures she once conjured up; an artist gifted as a businesswoman. Season by season, as she’s taken a theme and dived into it—hotel interiors, objects d’art, stamps, money, and this season, shoes—she’s gone on to prove that she can sell the results worldwide, as arty couture dresses for collectors, as pre-collections and resort-wear. The many women who turned up wearing her clothes at her show today are only the tip of the commercial phenomenon which has grown from the handful of shift dresses she first showed in 2009.

You can feel the “but” coming. There’s no doubt that her spring collection—inspired by transposing and exploding the patterns of brogues, trainers, and ornate evening slippers onto dresses—has the Katrantzou signature through and through. There is much to delight women who enjoy color and print, both as streetwear (oversize biker coats and shorts-suits) and as short party dresses, embellished with frills and encrusted with Lesage embriodery. Knowing Mary’s organizational powers, there is also a full range of spin-off T-shirts, blouses, and knits in her showroom to back it up.

But there’s a question. It’s a brutal one, considering the pressure, on all designers, everywhere, to turn a profit and stay ahead in the novelty stakes. The problem Mary Katrantzou faces is twofold. First, the advances she pioneered are now part of the language of fashion, much copied, much taken for granted. And though she’s appreciated for her mastery of it, she is still a young designer and the world is watching to see if she’ll come up with another game-changing innovation that will knock back the eyes of spectators for a second time. That is asking a lot. But as we said at the beginning, Mary Katrantzou is an artist. Perhaps giving herself the opportunity to change her tools, turn off that computer, turn off the commerical pressure and apply that massive creative brain of hers to trying out something completely different would yield another great leap forward. It’s not that she should abandon the world of color and delight. There’s no prescription for what it ought to be, because a designer of Katrantzou’s abilities is clever enough to present us with stuff no one else ever imagined possible. She’s done it once, but can she award herself the space to push that experimental intelligence again?


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