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Not very long ago, Erin Fetherston was an American in Paris, living a dream that so many young designers harbor: Steps from the headquarters of design houses like Dior and Chanel, staging whimsical presentations at the Ritz during Haute Couture and making short fashion films with Kirsten Dunst and Ellen Von Unwerth...
It's the stuff of modern-day fairy tales, and Fetherston's collections at the time were a reflection of that. There were dresses, lots of dresses, for the legions of parties that the Fetherston girl was invited to, in light-as-air chiffons; or high-waisted skirts with layers of fabric resembling petals or hems ending in thick ruffles that swirled around shorter than short skirts. Girlish rompers and shorts were her only nod to daywear.
Though she's been showing during the New York calendar for the past two seasons, this season, she finally calls New York home. And New York seems to have noticed: Fetherston is nominated for the CFDA/Vogue Fashion Fund award this year, given to an up-and-coming designer for the past three years.
So it's not just a fairy tale anymore, when the business side sits up and enters the picture. Though her Spring '08 collection, which she showed on Wednesday, September 5th in Bryant Park, was titled "Flights of Fancy," the overall mood was far more sophisticated than quixotic. Gone were the billowing transparent layers, and in their place were belted silk pin tuck jackets in ivory over long and lean silk trousers or an knee-length accordion pleated skirt. Shorts were still there, and still riding high on the waist, but this time lengthened a bit and done in a somber oyster grey. There were also short-sleeved shirt dresses, belted low on the waist and dresses "embellished" quite minimally with rows of tiny buttons, or simple pleats down the front.
Fetherston didn't completely abandon her girlish, fanciful signatures -
they were simply toned down a bit. Instead of full, fluttery skirts, she gave blouses a flutter sleeve and even her series of evening dresses were divided equally between classic Fetherston ballerina dresses in organza and the newer, minimalist silhouette of absolutely gorgeous grey gowns that moved like liquid mercury. These kept the details to a minimum: a low back on one, cut-out shoulders on another, and a deep, pleated v-neck on another.
"I just really wanted to do something that was clean and pure and a very vertical silhouette, just taking off all the layers and starting from a fresh canvas," said Fetherston.
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