Last March, Amanda Lew Kee was poised to take over Toronto's fashion scene and claim her throne as reigning queen of LGFW with her fall/...
Last March, Amanda Lew Kee was poised to take over Toronto's fashion scene and claim her throne as reigning queen of LGFW with her fall/winter 2011 collection.
At the time, her show was one of the most anticipated of the week, held on a Friday and backed by intense hype and only a single, yet strong, official collection to her name (presented in October 2010). To the say the least, reviews were mixed. Our own correspondent said her collection featured the most egregious use of fabric she'd seen in several years. Others, including myself, didn't have a strong opinion either way, but universally acknowledged and admired her attempt at doing something different and "risky."
So when, a season later, Lew Kee's show is moved from a prime time Friday night slot to first thing on a Tuesday afternoon, I can hardly wait to see what we'll love or love less this time around. But feelings have mutated this time, kind of like the way we wait for a new Lady Gaga video just to see how much of a mess it may be. It seems like a strategic move on her part, driven by the desire to create less of an asphyxiating anticipation and instead foster an intimate environment that attracts only those who are serious about fashion like top buyers and editors. Camp Lew Kee is on lock down, too: no backstage photos, no interviews until way after the show and only by phone. You don't need to see her or talk to her to know that everyone's nervous. For the last four months, Lew Kee's been working quietly on her collection and spending time seeking inspiration in New York. She's also managed to stay out of the social scene and refocus on what's important to her: great design and innovation.
At the time, her show was one of the most anticipated of the week, held on a Friday and backed by intense hype and only a single, yet strong, official collection to her name (presented in October 2010). To the say the least, reviews were mixed. Our own correspondent said her collection featured the most egregious use of fabric she'd seen in several years. Others, including myself, didn't have a strong opinion either way, but universally acknowledged and admired her attempt at doing something different and "risky."
So when, a season later, Lew Kee's show is moved from a prime time Friday night slot to first thing on a Tuesday afternoon, I can hardly wait to see what we'll love or love less this time around. But feelings have mutated this time, kind of like the way we wait for a new Lady Gaga video just to see how much of a mess it may be. It seems like a strategic move on her part, driven by the desire to create less of an asphyxiating anticipation and instead foster an intimate environment that attracts only those who are serious about fashion like top buyers and editors. Camp Lew Kee is on lock down, too: no backstage photos, no interviews until way after the show and only by phone. You don't need to see her or talk to her to know that everyone's nervous. For the last four months, Lew Kee's been working quietly on her collection and spending time seeking inspiration in New York. She's also managed to stay out of the social scene and refocus on what's important to her: great design and innovation.
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