The little rooms adjacent to the Erdem runway were done up like private spaces, home to someone who reads many books and still uses a typewriter.
I recognised these interiors from an installation at London’s Frieze Masters last autumn — a commission by the Helly Nahmad Gallery, created by production designer Robin Brown.
Backstage, Erdem explained so much more: his fascination with fashionable film figures from history — Romy Schneider in Visconti ‘s Boccaccio ’70, Kim Novak in Hitchcock’s Vertigo, and Claudia Cardinale in Visconti’s Sandra.
The designer was fascinated by the idea that a person today might take apart clothes from the era of these films and remake them.
This thrift shop makeover seemed a dubious proposition, until I saw the eerily beautiful dresses, cut and pasted and finished off with whispers of feathers.
A stand-out dress seemed to move film-like from silk to burnt-out velvet, without even a seam to show where and how the magic began.
For the last couple of seasons Erdem has pushed himself, moving away from dresses that seemed destined for a fashionable, upper-crust customer.
Already last season he challenged that with a collection devoted to the plants in a Victorian conservatory.
This collection was a further step forward for his creativity, resulting in these beautiful clothes, remade not just with a sewing basket, but in the imagination.