The Mathieu Mirano Spring 2014 collection was “less editorial and more real” according to Mirano when I asked him to describe the collection.
I started backstage, looking through the pieces and talking with Mirano about his overall inspirations. The detail that struck me most, was his serenity. There was no chaos, and his confidence in the presentation hit a chord. I was tempted by the garments on the racks. A delicate harness like piece with thin straps of fine leather. How was he planning to use this? Feathers just waiting to be touched. Gilded python and laminated laces. I couldn’t wait to see his vision brought to life with everything coming together.
I walked into the Studio at Lincoln Center and as press we had the chance to arrive early. The models were nearly in their formation, dressed, coifed with chic slicked back ponies and made up with what seemed the most delicate whisper of anything resembling makeup and perfectly polished skin with just the right glow.
The teams were making their finishing touches, a last minute shift in the skirt, or a touch of hair spray misted to ensure perfectly placed tresses. Even with the finishing touches being made, there was an impact of such magnitude that I was jarred.
The sleek, almost futuristic setup with the staging was only 2 steps up with long white tubes of light leading to a simple stage at the end of the room, also lit in white lines.
There was classical music playing, a choice you don’t find often at fashion week, and very fitting for what we were about to see. Mirano had mentioned that he had been listening to a lot of classical while creating the collection.
As the models were taking their places and the music went into full gear, songs reminiscent from films like 2046, In the mood for love, and songs recognized from Erik Satie, the stage was fully set. We only had a couple of minutes before the guests arrived and I was taking it all in. Those moments of quiet before the crowds. seeing the simplistic elegance of the set up, the music and the collection were evocative.
I could have left after I photographed. I had seen the collection. I had seen the garments up close. I had seen his vision in the way he had wanted to present. I had the photographs I wanted to share with you, I had a show after. I couldn’t leave. This was a cerebral reaction to something beautiful and truly special.
There was a dominate sexiness to the pieces. Harnesses that were so super fine that they touched on lingerie but felt innocent at the same time were paired back to fine gauge fitted sweaters.
Each time I walked around the room, I found a new favorite piece. The silhouettes were in some ways classics, but the details in the collection were far from simple. Let’s start with the bustier dress of platinum dipped feathers intricately placed in between two layers of mesh. The finishing touch was hand dried roses that were formed into round sequin like shapes, and sewn in a rose pattern. I know this sounds complex, and it is with each carefully thought out detail, but the simplicity of each piece is the winning combination of wearability with the genius in the detail that you would expect from a couturier. Perhaps the attention to detail is why is why Lady Gaga requested Mirano to create a custom design for her premiere of the Applause music video.
The silhouettes chosen of pencil skirts and bustiers could have been harsh, but Mirano’s use of color and mixing of materials went the extreme opposite direction to an almost ethereal look of classical elegance with just the right amount of sexy.
Even as I write this following after fashion week, I can still recall the feeling of being lost in time in Mathieu Mirano’s collection. This is a designer to watch, and at the age of only 22 is clearly uniquely gifted.