Peter Dundas recently traveled to Moscow with his muse and longtime model friend Natasha Poly, who introduced him to the city’s many charms (and clients). Being a natural-born sensualist, he was smitten by the opulence of Russian hospitality—not to mention by the splendid imagery of Orthodox churches, gilded palaces, and colorful matryoshkas—so much so that all this profusion of lavishness found its way to Dundas 4, his fourth collection’s drop. Presented by private appointments in his new Milanese showroom, it was proof of the designer’s enduring romance with bohemia, obviously of the most sumptuous kind.
As always with Dundas, ’70s glamour was heavily referenced in the collection; the mood board boasted a dense collage of images depicting the chic debauchery of Yves Saint Laurent’s gang of beautiful people. The French couturier’s legendary Russian collection, with its sublime take on folklore, was obviously an inspiration; tunics in fluid crepe in a bright shade of emerald or cobalt blue had richly embroidered peasant sleeves, while a czarina-worthy black velvet cape was decorated with golden soutache appliqués. The same abundance of curlicued motifs graced the lapels of a tailored black velvet pantsuit, cut mean and sharp; it was an obvious homage to Le Smoking, but the sexy wattage was amped up the Dundas way. The Oscars are just around the corner, and it wouldn’t be surprising to see it worn by one of the many Dundas aficionados who will covet many other red carpet–worthy propositions in the collection. The designer even concocted a feathered number made of technical silver fabric that flatteringly reflects the light when photographed. Talk about knowing your customers.
Elsewhere in the collection, a sensuous flair and a touch of romance smudged the exotic folkloric inspiration; case in point was a white cloak with black trimmings and tassels, reminiscent of a hussar uniform, which was worn with skintight black leather pants and a sexy corseted mirrors-embroidered bustier with a flimsy Chantilly lace blouse. Along the same lines, a silk velvet minidress (where the term “mini” was quite an understatement) in a regal golden Venetian hue, Fortuny-inspired, was richly decorated with an embroidered reproduction of Moscow’s Byzantine St. Basil’s Cathedral; it also boasted the designer’s name written in Cyrillic. It all felt (and looked) a quite decadent by-the-book tribute, almost like a fashion postcard that read: “From Russia, with love. Yours truly, Peter D.”
