The sun emerged just as the first model appeared in the runway entrance at designer Marina Hoermanseder’s Spring 2016 show, in the back garden of Berlin’s Kronprinzenpalais (Crown Prince’s Palace) on July 10. In stiletto heels that tipped her onto her toes, and a bell-shaped skirt of hard, molded leather, she looked like a ballerina emerging from a music box.
The models that followed revealed a pastel-hued collection that included thousands of handmade leather flowers, bondage pencil skirts made entirely of straps, a 3D-printed rose gold vest, and anatomically molded leather bodices, lacquered to a glossy shine. It was as if a dominatrix from the future had fallen down the rabbit-hole and awoke in the Queen of Hearts’ garden.
Hoermanseder’s show was phenomenal—but also, actually, practical. Peppered throughout the collection, in shades of cream, wheat, and periwinkle, were also blouson jackets, Marlene Dietrich pants, tidy eyelet blouses, and clean-cut coats.
And that music box-ballerina who opened the show kicked off her heels at the end, taking her final turn on the runway barefoot. The crowd—the vast majority of which wore sensible shoes—cheered.
“It’s art, on one hand,” the young Austrian designer, who studied business and economics before moving to Berlin for fashion school, told Quartz after her show. “But only art is not going to sell forever.”
A similar desire to satisfy customers and dress real women was palpable at Dorothee Schumacher’s morning presentation. There, in an intimate studio off the cobblestoned sidewalks of the central Mitte neighborhood, a well-coiffed crowd with smooth blond ponytails, un-scuffed shoes, and sunglasses tucked into their plackets chattered warmly with one another before the show.