In December 2010, Alexandra Owen unveiled her sub-collection ‘Little Black Dress’. It is a delicious journey into a noir theme-and-variation story line. If it were music, it would be in the key of B Minor. The collection comprises four main themes, with the variations being in fabric weights, sleeved or sleeveless, day or night styling, and textures ranging from rich plush through to finely-embossed cotton-viscose panels. They are lined with taffeta resembling sweeps of striped watered silk.
The launch was held in Owen’s showroom at 253 Wakefield Street, early in the evening. Inquisitive, late sunlight streamed through the windows to highlight the four models Owen had styled for the event. At first sight they appeared like mannequins, but then they meandered and grouped among the guests and thus the sculptured spirit of the collection became apparent. The use of accessories was imaginative. Certainly they looked back to a 1920s haute-couture, but this collection is strong enough to invite such seasoning.
Owen’s sense of drama was further complemented by the finely-graduated use of MAC cosmetics, propelling the models into the realm of screen sirens. And the coiffure work, courtesy of Michael Beel, was a superb playtime in the decades of finger curls and bobs.
The Little Black Dress collection was not so much put on display, as held court.
