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Atil Kutoglu paid homage
to Turkey with customary harem knee
pants and kaftans in earthtone colours, but the rest was quite modern
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HEN
A DESIGNER has significant ties to his native culture and
heritage—be it someone who with strong ties to the African–American
hip-hop culture or one from a peasant village in Peru—he or she
invariably comes up against a conundrum: how much of one’s culture
should you inject into a collection before it passes the point of
parody?
We see this all the time in New York when designers
from other countries show for the first time at the Bryant Park
tents. They are rightfully proud of their heritage and must protect
their base customers at all costs but the desire to expand
beyond one’s natural boundaries is paramount to their eventual growth.
So, how much of your collection should calm the natives and how
much should demonstrate your ability to assimulate into the global
fashion society?
From the very beginning, Turkish designer Atil
Kutoglu has attempted to face this decision in a forthright manner,
and it is now bearing fruit in his fall 2003 collection. With each
successive collection shown in New York, he has managed to mix in
incremental amounts of western (read modern) influences without
losing sight of his basic love for his own country and the influences
at home. As a result, each collection has become more and more accessible
and easier to “read” while we absorb the underlying tutorial he
gives about Turkey through the clothing.
Fall 2003 has Mr Kutoglu in a somewhat reflective
mood. He went back to the desert of his native Turkey and the earth
for inspiration, and came back with a collection was his best effort
yet. While he paid homage to his homeland with the customary harem
knee pants and kaftans in gold and other earthtone colours, the
rest of the collection was quite modern in the cut, silhouettes
and ways in which he manages to elevate his craft to new heights.
continued

 
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