What can I say about Suno that I haven't said before? This could so easily have been a straight forward image post, with a brief addendum to add to the last review of the S/S 11 collection. Except it wasn't a case of outputting more of the same as the Suno duo Max Osterweis and Erin Beatty didn't rest on their printed laurels and somehow have come up with a fresh solution for mixed prints for the season that is still distinctively recognisable as Suno, a feat for such a young label.
Moving well and away from the Africana nods of earlier collections, Suno instead turn to a hotchpotch mix that takes rustic or chintzy florals and apply them with precision so the effect is never wishy washy, something that those types of florals can often manifest themselves as. Certain floral motifs are enlarged, repeated, warped with stripes or checks so that there's always a common denominator that ties the different print stories together into cohesion, which is probably why no ensemble ever comes off looking like a batty print mix (I should know given my own tendency of batty print mixing…).
Away from print mixing hocus pocus, the themes are also wildly eclectic - English tea dresses, Peruvian knits, woolen throws from a ski chalet, 70s sequinned tops, colourful paste brooches, country hunting outfits, Ikat weave, deer trappers and 1930s wallpaper are just some of the things that come to my mind when being presented with this collection and whilst a few of these elements are used in a literal way, most are reprocessed and manage to be both familiar and comforting as well as exciting and fresh at the same time. It's probably wishful thinking for Suno to maintain their presentation method for the forseeable future but it has afforded me the joys of zooming into models' 'female' areas for mixed-print money shots that will never fail to make me excited about print mixology. I am also the print disciple that's truly humbled in the presence of a Suno collection and suddenly all the florals that I have in my wardrobe, are suddenly looking like inferior wastes of space...
Moving well and away from the Africana nods of earlier collections, Suno instead turn to a hotchpotch mix that takes rustic or chintzy florals and apply them with precision so the effect is never wishy washy, something that those types of florals can often manifest themselves as. Certain floral motifs are enlarged, repeated, warped with stripes or checks so that there's always a common denominator that ties the different print stories together into cohesion, which is probably why no ensemble ever comes off looking like a batty print mix (I should know given my own tendency of batty print mixing…).
Away from print mixing hocus pocus, the themes are also wildly eclectic - English tea dresses, Peruvian knits, woolen throws from a ski chalet, 70s sequinned tops, colourful paste brooches, country hunting outfits, Ikat weave, deer trappers and 1930s wallpaper are just some of the things that come to my mind when being presented with this collection and whilst a few of these elements are used in a literal way, most are reprocessed and manage to be both familiar and comforting as well as exciting and fresh at the same time. It's probably wishful thinking for Suno to maintain their presentation method for the forseeable future but it has afforded me the joys of zooming into models' 'female' areas for mixed-print money shots that will never fail to make me excited about print mixology. I am also the print disciple that's truly humbled in the presence of a Suno collection and suddenly all the florals that I have in my wardrobe, are suddenly looking like inferior wastes of space...
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