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Kostas Murkudis
Photography James White Styling Darryl Rodrigues Make-up Topolino Hair Laurent Phillippon Special thanks Lionel Peralta
To please his parents, Murkudis took up his studies in chemistry but abandoned them two years later to go to fashion school in Berlin. He worked one season for Wolfgang Joop and then met Helmut Lang, who was preparing his very first show in Munich. Like Lang, Murkudis is fundamentally utilitarian and works primarily within a vocabulary of men’s tailored suits and simple shift dresses. But Murkudis never comes off as cool or standoffish. He draws from a panoply of references, so his collections can be seen as eclectic—mixing, say, flighsuits and pilot coats with ribbon dresses straight out of Greek folklore. His Fall–Winter 1999–2000 collection began with a picture he found of the Russian Ballet. The point of departure was from behind-the-scenes, featuring reversible pants in jersey and nylon with rehearsal tutus worn over them and dresses crafted from tulle and nylon, or lace and tissue-thin plastic. “I tried to please women with this collection more than in any collection before,” Murkudis says, adding that this collection was a turning point for him in more ways than one. “We used really beautiful fabrics. In the beginning you can’t afford them. I had to buy cheap—fabrics for five francs, linings and things. It’s a real challenge.”

Visionaire’s Fashion 2001: Designers of the New Avant-Garde by Stephen Gan

Kostas Murkudis

Photography James White Styling Darryl Rodrigues Make-up Topolino Hair Laurent Phillippon Special thanks Lionel Peralta

To please his parents, Murkudis took up his studies in chemistry but abandoned them two years later to go to fashion school in Berlin. He worked one season for Wolfgang Joop and then met Helmut Lang, who was preparing his very first show in Munich. Like Lang, Murkudis is fundamentally utilitarian and works primarily within a vocabulary of men’s tailored suits and simple shift dresses. But Murkudis never comes off as cool or standoffish. He draws from a panoply of references, so his collections can be seen as eclectic—mixing, say, flighsuits and pilot coats with ribbon dresses straight out of Greek folklore. His Fall–Winter 1999–2000 collection began with a picture he found of the Russian Ballet. The point of departure was from behind-the-scenes, featuring reversible pants in jersey and nylon with rehearsal tutus worn over them and dresses crafted from tulle and nylon, or lace and tissue-thin plastic. “I tried to please women with this collection more than in any collection before,” Murkudis says, adding that this collection was a turning point for him in more ways than one. “We used really beautiful fabrics. In the beginning you can’t afford them. I had to buy cheap—fabrics for five francs, linings and things. It’s a real challenge.”

Visionaire’s Fashion 2001: Designers of the New Avant-Garde by Stephen Gan

tags: #kostas murkudis #james white #darryl rodrigues #topolino #laurent philippon #lionel peralta #wolfgang joop #helmut lang

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