ADLIB 2007

And this call was indeed taken up by some of the fifteen designers. Whereas a few of the fashion designers heralded the return of the colour white, others in turn presented collections which showed little connection with Adlib’s initial concept first developed over 30 years ago. Brazilian Kathia Alves, who kicked off the show, brought a change of direction and a new emphasis to Adlib with nets, crocheted, appliquéd flowers, hollyhocks and hand-painted fabrics in olive green, white and pink. Her butterfly sleeved dresses decorated with crochet are proof that she sees her garments as pieces of jewellery, which deserve as much respect as an expensive oil painting. Piluca Bayarri divided her collection in two: the first transported the audience back to the beach on Sylt during the 40s. With her lacy underwear, knee length ruched trousers, little blouses and caps she recreated the atmosphere of Grandpa’s youthful escapades amongst the beach chairs on the beach at Timmendorf. The second featured her trademark trikinis. Her long crocheted dress which revealed glimpses of bikini was particularly striking.

By contrast, Francesca Ferrer stayed safely within the Adlib boundaries with dresses decorated with tiered flounces. She took her inspiration predominantly from the Ibiza of the 60s. Ferrer’s collection reflected Adlib’s youth using white cotton and barefooted models. She paid homage to vintage Adlib with her full swinging skirts, gossamer cotton and butterfly sleeves. More modern by contrast were her miniskirts with full flounces.Although Melanie Piris took her inspiration from the time of Adlib’s conception, she mixed brilliant white with a subtle amount of other colours for her poncho and wide swinging coats. Her hand-printed fabrics and striking dress with flounces from collar to hem particularly showed a synthesis of form and colour. The audience were then forced to sit up. In stark contrast to the bright Mediterranean vibe, Marmade put the models into black cat suits. These however acted merely as a side show to the main act; jewellery inspired by underwater treasures, such as gold and silver rimmed mussels on chains that reached down to the navel. Marmade introduced a change of scene.

Christine Astruc, who opened Boutique Arizona in 1983, transported the audience from the Pitiusas to the Wild West. She distanced herself from the traditional Adlib look by using suede instead of light summery fabrics. Her soft flowing suede jackets with hand-painted Indian motives, long skirts with long fringes in beige and orange and her suede bikini in electric blue all exuded country flair and the vibrancy of Indian treasures. The German designer Beatrice Siegmund of Beatrice San Francisco opted for a combination of silk, cotton and lurex. Her hooded robes in silver and warm brown and russet tones conjured up images of royal daughters in the African savannah. Tres Ibiza gave the merest nod to its distant relative Adlib. Fish skin, sequins and metallic imprints did not come from the traditional character of Ibicenco fashion. Several of the audience were visibly moved when they saw the youngest models for Los Angeles carefully make their way along the catwalk. Hand in hand wearing elfin wings, wreaths of flowers and strappy dresses with patchwork patterns and frilled trim, they captured the hearts of the audience.

Newcomer Mónica Bonet transported Adlib to Japan. She surprised the audience with a collection inspired by Japanese fabrics and patterns and Japanese illustrations applied to kimonos, low-cut waistcoats and the back of jackets. With her flowing hooded robe in russet tones she drew the audience further into the Moroccan desert.
The mainstay of Ishvara’s collection were snakeskin belts, bags and roman sandals in various colours, some decorated with turquoises. Neither Happy Chick nor Neves brought anything new to the catwalk with their pareros, mini skirts and strappy tops in zebra or leopard skin. They didn’t fashion their creations specifically for the fashion show, but displayed examples of what they offer in Las Dalias week on week. By contrast, Eva Cardona’s creations appeared feminine and elegant. Her flimsy dresses with sequined trimmed bodices and long shawls allow glimpses of stomach and navel to shimmer through and flatter the female form. A few bars from the group Nirvana would have been suitable background music for Tony Bonet representing Bianca. He went for an unconventional neo-grunge look allowing his black-clad bride to parade past in jodhpurs with a train on either side and a collar of black tulle roses. And his narrow, close-fitting trouser suit with laced corset in Samurai style would have been right at home in the next Tarantino movie.

Supermodel Elisabetta Gregoriacci, current girlfriend of the Renault Formula One team boss Flavio Briatore, modelled a loose dress in traditional Adlib style with large hood.
The Mayor of Ibiza, Lurdes Costa, watched the show dressed as stylishly as ever. Her consular colleagues, by contrast, had decided on simple day wear rather than evening wear. Was it intentional or an attempt to create his own individual ‘vintage’ look that drove the president of ‘Patronato de Moda’, José Serra to turn up to the show in washed jeans and a shirt?
The audience of the fashion show held on Formentera the next day between the town hall and the church, were dazzled not only by the fashion but also by the sun. After all, an evening in October is not the time to parade around with bare shoulders, deep décolleté and a bare stomach.