ZEYNEP TOSUN:

Fenn O'Meally reports from Zeynep Tosun:

LFW AW13. Day two. The day Zeynep Tosun came to town. Or to be more concise, came to the decadent venue of Freemason’s Hall on the uber chic Greet Queen Street. With themes of a fierce autumnal grace, Tosun’s collection had most of its onlookers lustful for shades of bitter blacks, burnt oranges and fiery terracotta’s, which were all softly detoxed with occasional brazen splashes of white. Like her garments, the model’s profiles also echoed a sense structure. The cheekbones, the eyes, the lips; all vividly outlined with a subdued intensity.  Bordering each models eye was a haze of black and grey, set against the golden tones of bronzer, whilst the lips, bleached plum red, stood their own stance, injecting a further autumnal tone into the collection. It seems that, once again, smoky, feline eyes will remain a strong feature in AW13.

Now don’t get me wrong, there was a sense of softness, of gentile beauty, but this was clarified through the hair and nails of Tosun’s models. Both were generally styled to align their natural form, with nails perfectly lacquered in a simply subtle nude tint and hair either let loose or swept off the face and tied modestly at the nape of the neck.  The only essence of structure concerning hair was that of voluminous spirals that once or twice speckled the catwalk with playful chic.

All in all it was clear that Tosun’s aim was that makeup purely complemented and defined the structure of collection rather than ever overpowering the garments. I guess this balance is key with any designer, too much or too little can make a show. So remember in the words of Annie, whether it brashly black, or deep Toson-esk red, ‘you’re never fully dressed without a smile’