The word apron is comforting, old-fashioned even, reminding us of home, grandmother, hot meals, kindness.
Albert Kriemler’s grandmother, Alice, launched Akris by sewing aprons from St. Gallen, Switzerland, fabrics and embroideries in 1922, and she donned one before stepping into the atelier every day.
Ninety-nine years later, Kriemler challenged himself to make the apron contemporary, and he succeeded with his sleek and refined spring collection, which exalted the sensual side of a wrapped and tied piece of cloth.
A minimalist at heart, the designer employed the tie strings, loose flaps and neck piece as design or decorative elements so cleverly that none of the looks screamed apron.
In fact, the neckline of an apron dress or tunic gently suggests the 1970s, especially when layered over gently flaring trousers. A low-back apron gown paved in matte, blush-colored sequins whispered quiet chic, while a full-skirted black dress fronted in lamb leather was slyly sexy.
“Soft power,” is how he described the look. “There’s this new sensuality.”
Kriemler hopes to return to the Paris runway next season, but he was in Akris’ Paris showroom on Monday to unveil the collection film and to show editors and retailers the finer points of the collection, which includes an A-line rain parka that can be snapped into different lengths.
Hearing him explain the development of the fabrics — the high-twist cotton, the weatherproof silk, the custom-made toile — is an education, while feeling them is to understand why the Swiss luxury house has become a stealth brand for discerning women, and a standard bearer of investment dressing.
Kriemler collaborated with young filmmaker Damien Krisl, who has worked extensively in the beauty arena, to capture the feel of the best cashmeres and silks with drone cameras and a trampoline.
Models also filed around Roter Platz (Red Square), a modernist outdoor living room that was conceived by Swiss artist Pipilotti Rist and architect Carlos Martinez. It’s nestled in the courtyard of a bank headquarters, and my oh my, these clothes looked the money.
