Physical Fontana, Digital Fyodor Golan

If you have adopted this Summer (or are planning to do so this Autumn) the spatial indefiniteness trend – that is garments that feature holes or perforated elements revealing the skin or another layer of fabric underneath – you may be happy to hear that it will still be fashionable come next Spring. Fyodor Golan's Spring/Summer 15 collection, showcased during London Fashion Week, features indeed a series of dresses characterised by vertical slits à la Lucio Fontana.

As you may remember from a previous post, through his slashes Fontana prompted viewers to go beyond the physical canvas and explore the dimension hidden behind. Mila Schön was one of the first designers to get inspired by Fontana in her creations, but the theme of slashes and cuts reappeared quite often on the runways, also in more recent years (we last saw them in Alexander Wang's Autumn/Winter 2011-12 collection).

Fyodor Podgorny and Golan Frydman moved from Fontana, but added a futuristic edge to the artist. In some cases the reference was obvious, in others the slashes were reinvented and readjusted turning into pockets or were employed to create modern fractured edges in drop waist dresses for techno flappers.

The main theme of the collection, showcased in a South Bank railway tunnel, was indeed "Digital Romanticism" and was symbolised by an inverted pyramid-shaped screen that acted like the fashionable version of the monolith out of 2001: A Space Odyssey. Developed by Microsoft, the pyramid projected live images of models and audience members, shot with Lumia 830 smartphones (a reference to the Nokia Lumia Skirt the design duo showcased last February during London Fashion Week).

Technology translated in the iridescent fabrics, high-tech textures characterised by a plasticky consistency, multi-coloured digital patterns that mixed fantasy with reality (mainly pictures of American football players), plastic floral appliqued elements and rows of coloured round sequins.

Circle dresses, shaved fur bomber jackets, oversized babydoll dresses, miniskirts and sweatshirts with bright florals added a luxuriously feminine note. The designs were matched with perilously high heeled shoes (17 cm) in neon shades.

The palette – mainly fluorescent nuances, rainbow stripes and collages of prints (hinting at surface manipulations and therefore once again at art) – evoked raves and Acid House (this is actually not the first rave-inspired collection for the next season as we will hopefully see in a future post).

While they balanced art, rave, luxury and sport in equal measures, Fyodor Podgorny and Golan Frydman do not seem too sure which path they will follow in future. Yet being young has a great advantage: you can still experiment and have fun for a few more seasons while trying to find your way and destination. In the meantime, spaceship FG can rest assured that their clothes will be among the most visually striking of the next season.