Albino Teodoro mixed historical Mitteleuropa references with a ’90s spirit for Pre-Fall. During a recent visit to Vienna, he found in an old library a few original drawings from Ver Sacrum (meaning Sacred Spring in Latin), the official literary magazine of the Viennese Secession. Published between 1898 and 1903, its advanced typography, layouts and illustrations served as an influential template for many publications to come. Its contributors were writers of the caliber of Rainer Maria Rilke and Hugo von Hofmannsthal, and artists like Koloman Moser, Gustav Klimt and Fernand Khnopff, just to name a few.
Albino translated voluptuous botanical patterns into a graphic wallpaper-y print which was used throughout his well-edited collection. It was blown up into a huge rose motif proposed in stark black and white, or in deep tones of purple and midnight blue; or else in a shade of porcelain blue set off by deep black. Since the printed patterns had a rather strong impact, shapes were kept simple yet sophisticated. Albino favors a grown-up, refined aesthetic inspired by Haute Couture masters like Cristóbal Balenciaga: Voluminous shapes are enhanced by the purity of lines and the use substantial, luxurious fabrications—techno faille, radzimir, silk gauze. Trapeze dresses were kept less severe with delicate ruched collars; the feminine flounces at the hem of shapely coats were cut with gentle precision. Albino designs for a cultivated customer: he doesn’t really court millennials. You won’t find sweatshirts or track pants or any kind of disposable fashion in his collections.
