Style.com: Mandy Coon Spring 2013 Review
NEW YORK, SEPTEMBER 11, 2012
By Alison Baenen
By her own admission, the foundation of Mandy Coon’s Spring collection was “pretty nerdy.” That’s how the designer described it before her show, as she explained how a discussion of MIDI files—the way electronic instruments and computers talk to each other—got her thinking about incorporating a file’s digital pattern into a print. Pontus Winnberg of Miike Snow stepped up to make Coon a special track, and the designer turned the file’s data into a laser-cut pattern and a graphic print. Backstories don’t get much cooler than that, but the jump from MIDI file to runway collection is long enough that it was virtually impossible to see the music in the clothes. The prints most closely resembled a Rorschach test, and the laser cuts looked a bit like tiles in a Tetris game. But that’s not a criticism. Consider Coon’s collection the antithesis to the piano key necktie.
Back to the clothes. The primarily black and white, leather-heavy collection was darkly romantic, with bodice-crossing straps, zipper detailing, and belt-slash-harnesses providing a bondage feel. In a field of short dresses, a few long silhouettes made an impact. A deep purple column with a keyhole cutout in the back—a recurring motif—had a sly smattering of cutouts on one leg. It was just as sexy, if not more so, than a sheer, thigh-skimming shirtdress with stamped lambskin lapels. That stamped lambskin looked like python and was used well throughout. A simple tank dress in the stuff was sporty and chic. Coon described the track Winnberg made for her as “melancholic but optimistic.” Her clothes, broody but not too serious, struck the same chord.