Damir Doma Fall 2012: Minimalist Renaissance Woman

PARIS--You had a sense Damir Doma's fall collection would be rather subdued and soft--even comfortable--just from the invitation. It was printed on a thick piece of white felt. The runway and the first row benches were also lined with it. And when the clothes came down the runway it made sense. Models were draped and swathed in soft loose silk knits first in black, then a soft blush, then something called "cornelian orange" in the line sheets, and even suede. They walked slowly, serenely, padding along the felt runway in flats--all flats! A nice change from impossible-to-walk-in stilettos (ahem, Zanotti for Vaccarrello). Damir Doma's woman was "adorned with the symbolism of culture in between--from oriental tradition to the weight of the cross," the line sheets informed us. "Reveling in the rituals of the sacred feminine, she clasps a secret at her bosom." A little weighty, sure, but so were the crosses worn around the models necks.
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Leah Chernikoff
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PARIS--You had a sense Damir Doma's fall collection would be rather subdued and soft--even comfortable--just from the invitation. It was printed on a thick piece of white felt. The runway and the first row benches were also lined with it. And when the clothes came down the runway it made sense. Models were draped and swathed in soft loose silk knits first in black, then a soft blush, then something called "cornelian orange" in the line sheets, and even suede. They walked slowly, serenely, padding along the felt runway in flats--all flats! A nice change from impossible-to-walk-in stilettos (ahem, Zanotti for Vaccarrello). Damir Doma's woman was "adorned with the symbolism of culture in between--from oriental tradition to the weight of the cross," the line sheets informed us. "Reveling in the rituals of the sacred feminine, she clasps a secret at her bosom." A little weighty, sure, but so were the crosses worn around the models necks.
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PARIS--You had a sense Damir Doma's fall collection would be rather subdued and soft--even comfortable--just from the invitation. It was printed on a thick piece of white felt. The runway and the first row benches were also lined with it. And when the clothes came down the runway it made sense. Models were draped and swathed in soft loose silk knits first in black, then a soft blush, then something called "cornelian orange" in the line sheets, and even suede. They walked slowly, serenely, padding along the felt runway in flats--all flats! A nice change from impossible-to-walk-in stilettos (ahem, Zanotti for Vaccarrello).

Damir Doma's woman was "adorned with the symbolism of culture in between--from oriental tradition to the weight of the cross," the line sheets informed us. "Reveling in the rituals of the sacred feminine, she clasps a secret at her bosom." A little weighty, sure, but so were the crosses worn around the models' necks. It sounds heavy and much of it was--black with an emphasis on masculine tailoring, looks topped off with jaunty pageboy caps and stiff little Elizabethan collars, true to Doma's bleak minimalist Antwerp-ian style--a style that's earned him a cult following among Parisian hipster types. But then there was some unexpected lightness at the end: Flowy earthy dresses in blush silk with low-slung obi belts and hints of glitter on scarves were a departure--and a welcome one at that.

Photos: Imaxtree