The 1970s is a strong point of reference this season. Just observe the collections of Betsey Johnson, Love by Diego Binetti, Jay Godfrey, and Desigual. From the glitter and glam of Studio 54 to the hippy/bohemian chic of the early 70s, designers were inspired by the decade that encompassed sexual freedom, women’s liberation, individual expression and the fashion industry’s first commercial foray into street fashion.
For her fall 2014 collection, Vivienne Tam drew inspiration from many of the cultural and political movements of the 70s. The stories around Tam’s collections are always multi-layered. From her fall/winter 2013 collection that combined a re-invigorated Punk aesthetic combined with cultural and political iconography to Tam’s fall 2012 motif of a world traveler in 1930’s fictional Shangri-La clothing updated to present time.
In this outing Tam saw her customer in re-imaged early 70s clothing. There was a definite nod to that post-Twiggy, post–Swinging London of the 70s, right before Carnaby Street turned Street Punk with Vivienne Westwood and Zandra Rhodes’s creations. Though Tam may have tried to pay homage in some respect to Studio 54 and American Hustle, this collection fit solidly in the Max Kansas City, boho chic mood of the early 70s.
Tam infused influences from the ancient Chinese cave frescoes of Dunhuang. The beauty of the Dunhuang cave murals was expressed in Tam’s color palette of sepia, amethyst, carnelian, lapis lazuli, jade green, metallic bronze and gold. This array of semi-precious stone and jeweled colors made for a dazzling spectrum of color on the runway. And felt more fashion-forward and current than Tam’s 70’s reference.
There were some great looks in this collection. Particularly, when Tam combined her take on 70’s peasant blouses with leather skirts. Still, the collection seemed at times too literal and safely ensconced in the 70s vintage clothing genre. However, there were some standouts which included Tam’s green t-neck dress w/ anthemia sandal print, the teal peasant top with applique front and violet anthemia print poncho, and rust deer print gathered top with orange hallo printed skirt.
—William S. Gooch
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