Bec & Bridge: prints and promises

Before punk music opened and a pleated midi-dress closed, Bec & Bridge had offered up something rare at most of this fashion week’s shows: an evocative description of the collection set to be unveiled. Written to stir the imagination, it promised up a collection inspired by spring 2011’s 70s fashion revival with a secondary influence of new York city’s fashion and architecture from the same era.

To some degree Bec & Bridge delivered what they described, and for a good segment it was the 1970s in all its flirty capacity. But like the choice of punk music to open this RAFW showing, its elements at times seemed vastly different to what had been promised.

And that’s a point of difference that comes about more as a result of what the copywriter had promised and the collection on a whole delivered. Where obvious 70s should have opened, thoroughly modern, shattering prints instead took away the feel of the era. But if you could, even for a moment, take your eyes off the complexities of each jarring print you’d have noticed that the cuts at least remained somewhat faithful. So did the accessorising, the styling of the showing proving that the gent’s hat as a women’s accessory is a European trend ripe for Australia.

Where clashing prints weren’t, however, a casual elegance was. They say in the form of the true gems of the collection, its crochet tops, skirts and dresses, as well as its pearl-toned short suit.

These pieces, along with several others from the showing’s second act, lived up to the drawn picture. You can see them, and all of Bec & Bridge’s spring / summer 2011 / 2012 collection by clicking on the thumbnails below.