Dilara Findikoglu's Spring/Summer 2023 Collection - Review

I may be "fashionably late" to the fashion month posts, but I must discuss Dilara Findikoglu's latest collection.

Findikoglu explores feelings of imprisonment, tension, and isolation in her darkly romantic collection, 'Freedom is a Two Edged Sword,' for Spring/Summer 2023. In a Vogue interview, Findikoglu says, "This collection is about my journey to physical and spiritual freedom," referring to the difficulties she had trying to leave her birthplace of Istanbul during the pandemic. She stated "Because of the visa problems I felt trapped. And that's the feeling that I had throughout my whole childhood and teenage years. I just wanted to get out, beyond the control of lots of factors like religion, like tradition - things that I couldn't change." The beautiful and poignant garments, as well as the overall curation of the show, left a lasting and powerful impression, with references to her childhood, Victorian dress, art history, and fashion greats such as Alexander McQueen.

The show was staged in an abandoned 19th-century hotel in London, with remnants of classical and ornate interiors among the ruins and distress. There was no music; the only sound was the clip-clop of high heels on the uneven hardwood floors, chains adorning some of the garments, and the flashes of several cameras. This created an intimate and quite surreal experience. The silence is awkward and uneasy, forcing the audience to focus on the details of the collection and fully engage with what Findikoglu is communicating in her work. 

If you have read my post about the enchantment of the 90s runway you will know how much I love exciting and fun catwalks, which I feel are rare nowadays. Findikoglu's show stood out to me because I saw echoes of Alexander McQueen's seminal catwalk shows, complete with intensity and drama. I admire designers who have fun curating their shows as well as the garments; it makes the collection more memorable and impactful.

My favourite garment and look from the collection is this net veil and leather body suit, titled 'Bitter End', it was the first piece I saw. I love how the net consumes and constricts the model like a straight jacket, with her arms crossed and shoulders hunched; it is both beautiful and claustrophobic. Findikoglu's visual aesthetic, combining femininity with a gothic/punk edge, is perfectly encapsulated by the contrast between the soft draped grey net and rigid dark leather. I thought the outfit was beautifully styled and executed by stylist Ally Macrae, especially with the wet strands of hair over the model's face (hair by Anthony Turner), furrowed brows, and striking red lipstick (makeup by Anne Sophie Costa). This garment effortlessly articulates Findikoglu's ideas about feeling isolated and constrained.

Bitter End, S/S '23

The next garment that caught my attention was 'Earthly Paradise,' which was inspired by Venus from Sandro Botticelli's painting The Birth of Venus, my absolute favourite painting. This dress is made of a pale skin-coloured net with long strands of brunette hair encased in the net, concealing the wearer's modesty. The model's hair is styled to mimic the hair pattern on the dress, with wet strands clinging to her brow and bleeding into the dress. The model's red lipstick is smeared to complement the wet look of her hair and garment, heightening the drama. I adore any reference to my favourite painting, and I think Findikoglu's use of Venus's famous long wavy hair as the central imagery of this garment is perfect.

Earthly Paradise, S/S '23

Sandro Botticelli, The Birth of Venus, 1485-86

The final two pieces I want to mention are 'Bulletproof Cupid' and 'Phoenix,' both of which are structured, bird-like garments embellished entirely with feathers. 'Bulletproof Cupid' is a mini, structured as a ballerina-style tutu dress, adorned with white feathers, a light and fluffy garment; it is reminiscent of a costume you would see on stage in the ballet Swan Lake. 'Phoenix,' on the other hand, is far more dramatic; the red feathered dress is longer, structured at the hips to create a wing-like effect, and is paired with a matching polo-neck shrug. Both pieces, but particularly 'Phoenix', remind me of Alexander McQueen's 'The Horn of Plenty' from Autumn/Winter 2009, referencing the use of feathers and the garment's bird-like silhouette, as well as its overall melancholy but romantic appearance. Feathers were used in many of McQueen's garments as a romantic implication of freedom, which Findikoglu is communicating in these two garments. This reference, I believe, is very fitting for this collection because she explores similar themes and has a similar visual aesthetic to McQueen.

Bulletproof Cupid, S/S '23

Phoenix, S/S '23

   

Alexander McQueen, The Horn of Plenty, A/W '09

Another potential reference that I noticed in the collection was Jean Paul Gaultier where Findikoglu incorporated lingerie such as corsets and the bullet bra. These garments also draw in Victorian influence, with the use of upcycled Victorian materials and brocade. Here are a few honourable mentions that nod to Gaultier's creations and Victorian dress: 

Girls Don't Cry, S/S '23

Hysteric Lolita, S/S '23

Torn, S/S '23

Pure Morning, S/S '23

The collection as a whole is powerful and striking, and it is one of the few memorable and innovative collections from this season. Dilara Findikoglu's combination and blending of her culture, childhood, and experiences with art and fashion history are flawlessly executed; her visual language is strong and consistent, and her rebellious and bold look is instantly recognisable. I hope she continues to grace every fashion month with her stunning collections and immersive catwalks. 

Thank you so much for reading :)

Love, Bella <3

Instagram: @venusincouture & @bellabbloss