Waiting for the Ana Sekularac runway to begin was like awaiting certain death. The gothic architecture, dilapidated furnishings and low light gave the feeling of an abandoned fairytale mansion, where the once opulent interior is now guarded by the restless spirits of its former inhabitants. The dark music added to the foreboding, and if it weren’t for the click-clack of fabulously heeled fashionistas being ushered to their seats, I would have feared the imminent appearance Count Dracula himself.
As the show began, the tension continued to build. The models glided down the runway in womanly, powerful pieces, taking on an equine quality in their majesty. The dresses were reminiscent of proms and school dances, however the bold, structured shapes dispelled any of the innocence that is associated with sweet sixteen’s.
The models heads were bound up in black ribbon, representing the violent, oppressive struggle of a young woman growing up. This, juxtaposed with the romance and nostalgia of the garments, essentially presented a coming of age story for women of our generation. As a woman’s voice crooned a melodic version of Linkin Parks ‘Numb’ the models became more forceful in their stride, and the structured lines of the garments took on a new ferocity as the girls seemed to swell in confidence and tenacity.
The main issue at play in Sekularac’s show seemed to be control. The headpieces reflected the way in which society imposes expectations on women, which in turn effect their expectations of themselves and which subsequently lead to the restraint of a formidable power, while the clean lines of the garments and the bold, block colours were indicative of that power. Arguably, the silhouettes in the show lacked innovation, closely mirroring those seen in this year’s Givenchy couture shows. To me, it doesn’t matter. I love Givenchy and now I love Ana Sekularac. It was a beautifully executed show filled with perfectly tailored, statement garments and a mood that caused me great frustration and inspired my resolve.