Peter Dundas laid out his repertoire in full for his eighth collection, presented right in time for Oscars season. He was obviously in Los Angeles, letting his party-animal side run free in its natural habitat—parties, after-parties, and after-after-parties—and, along the way, dressing a few celebrities of the likes of Glenn Close’s daughter, actress Annie Starke, and singer-songwriter Ellie Goulding. “Music is very important to me,” he said. Coming from a family where music was played constantly (his mother was a professional violinist, his father plays the piano, and Dundas himself plays the violin), he understands both the importance of theatrics and what it takes to dress a performer for visual charisma. His knack for glamour is part of his style equation. Just ask Beyoncé.
Music was the subtext for the eighth drop of his collection. Having recently spent most of his time in America, Dundas said he wanted to pay a sort of homage to “classic Tennessee performers, to Elvis and Roy Orbison, who always dressed in black,” he explained. He was also taken by the dark, gothic vibe of the Los Angeles music scene. But Dundas’s dark side always comes sunny-side up, brightened by ample servings of rhinestones—he cannot resist a good dose of sparkle. He called this collection “Rhinestone Cowboys Going Graceland.” “I’d love to dress Dolly Parton,” he mused.
Yet Hollywood played a much more convincing role here than Memphis, with plenty of sexy numbers that will keep Dundas aficionados swooning (there are quite a few, and not only in the showbiz arena). The darker tone the designer was referring to could actually be perceived in a more extensive than usual use of black; case in point was the opening look, a pantsuit in luscious black velvet inspired by the bedazzled country-and-western Nudie suits—born in the 1950s and worn by everyone in Hollywood, from Cher to Johnny Cash to Gram Parson. The Dundas version entailed upping the sexy factor more than a notch, with the blazer cut in a va-va-voom almost-hourglass silhouette, ’70s-inspired flared pants, and abundant bejeweled and sequined embroidery.
Black velvet also gave a sensuous vibe to a maxi robe cardigan, lavishly embellished; a draped bustier minidress fringed in gold; and to a halter-neck open-back number with a high front split, drenched in antique gold and gunmetal decorations. If you have the physique for it, the effect would certainly be a killer.
Flame red contrasted the black vibe in a leather-and-suede figure-hugging pencil skirt and blouse, or in a not-for-wallflowers long pleated taffeta dress with a sash flourishing on one side. Yet Dundas was at his best when he let his bohemian spirit do the talking: A sweeping long ruffled gypsy number in patchworked printed lamé, fil coupé, and lace intarsia looked sensational. It didn’t seem intended only for Dundas’s audience of celebrities, though: It’d look smashing gorgeous on (almost) anyone.
