Sleek legs dipped in patent black, streamlined silhouettes, exquisitely detailed piping, beading and tailoring, towering hair, all shone and dazzled under the catwalk lights of Karl Lagerfeld’s Autumn Winter 10 collection. The fashion icon showcased a modern woman with influences of science fiction (a common thread throughout many designers recent collections), "Modern is for today". However Lagerfeld showcases these modern influences in a way that is illustrative of his connection with the past, present and future, merging classic shapes, techniques and qualities with futuristic angular shapes, silhouettes and materials. This is something we have come to expect from the man that works within the conventions and ideals of the classic Chanel brand yet re-invents the aesthetics to appeal to a contemporary, modern culture.
Hussein Chalayan, the man that taught us look very differently at an ordinary coffee table, does not back away from drama. However with his recent collection he has chosen to take us on a different adventure, through the design of his clothing. The collection takes a departure from his earlier conceptual wear and shows his garments wear-ability through an imaginary trip around America. We start in a city uniform period of New York evidently commenting on the street style through choice pieces, hoodies (made sophisticated through the use of leather), sneakers combined with oversized blazers and suiting. Next the garments took influence from rural areas of America, in particular Amish land, with a procession of brightly coloured embroidery and a plumage of ruffles. Other influences where literally carried through the garments evident through leather cowboy hats, capes illustrative of the south as well as thigh high slashed ball gowns (accessorised with typographic glasses) which are reminiscent of the American cultural phenomenon, beauty pageants. All these significant attribute where clearly poignant and were highlighted through audible car sounds and snatches of sound bites from weather reports, and radio station music.
Sonia Rykiel
Refreshing bright smiles brought the catwalk to life for Sonia Rykiel and played right into the style of her youthful collection that sparked an essence of fun into every garment that drifted down the catwalk. The collection takes influence from vintage styles and menswear tailoring, yet breathes new life into often regimented styles through the use of oversized knits, pastel colours (an unusual sight for Autumn/Winter however has been making a repeat performance recently), with accessories such as large safety-pins, white doll-like legs, and topped off with a large pom-pom head-piece. The collection also makes use of the signature Rykiel stripes that hold relevance to her recent H&M line, bridging the line between high and fast fashion as well as appealing to her younger consumers. The playful approach to this collection erupted in a glorious finale of multiple models holding hands with one another while gleefully parading in ostrich feather tanks, tunics and coats.
John Galliano
John Galliano sent a costume drama extravaganza down the runway with a blast of glitter, which was then concluded with a triumphant firework display
Givenchy
Unusual elements sparked the inspiration behind Givenchy’s A/W collection. "I was thinking of the ski world, and the scuba world," said Riccardo Tisci. "And the colours of the Bauhaus.". All these elements can be seen throughout the collection however carried off with precision and subtle detailing that does not lead to an art collecting sports enthusiast. For instance the influence of scuba diving is evident in the stripping back of clothing, the zipping down of a pair of trousers with the turn down of material, or the choice of body con fabrics that reflect the light while still absorbing the intensity creating block shapes within the garments. The tailoring is sharp yet edgy, the cut is sexy and often skin tight emphasized through high neck bound throats, hints of lace and sheer panelling. The collections pallet focuses on black, barely-there nudes, bright white and a highly charged flash of scarlet red (often only appearing subtly within patterns on creating a daring statement within a monotone look).
All Images: Style.com
Edited by RebeccaHawkes - Yesterday at 8:39pm
post a commentViktor & Rolf
Ever the showmen, Viktor + Rolf stole the show at Paris fashion week this Saturday. The design duo sent out a model is multiple layers, who then removed them in order to clothe the other models.It was a concept they had already explored some 10 years ago with their famous Babushka collection, which they had decided to revisit for a/w 2010. This time round, the pieces were instantly more wearable than the crystal dresses of their first attempt. Echoing Hussein Chalayan’s infamous approach, their pieces transformed into new garments, from a dress to an Elizabethan ruff and so on.
The collection featured dark noir fabrics encrusted in
crystals, lined with fur or pulled in with leather belts. There were wool suit
jackets and dresses, as well as a leotard. Dresses were slinky and short,
layered with big bad fur coats for added glamour. The models wore leather skull
caps and sunglasses, as well as black ankle socks and sturdy heels. Leggings
featured studding detail, and dresses were striped with rivets, giving the
collection a tough aesthetic. But the daintiness of the dresses combined with
the lightness of the fabrics ensured the collection was far from butch.
Jean Paul Gaultier
Following on from his couture collection in January,
Jean Paul Gaultier’s a/w 2010 ready-to-wear collection continued the designer’s
travels around the globe, modelled by girls from every continent.
Everything in the collection could be sourced from
ethnic clothing of some description. There were French berets and corsets, tribal
embroidery on long black jackets, fur hats and African head scarves. However the predominant garments were evidently wide-legged trousers and harem pants, flowing jackets and
long skirts in uniform grey and black, adding a sense of coherence and unity to
the collection.
Comme
des Garçons
Rei Kawakubo often likes to shock. Well, she doesn’t’ seek to please, anyway. This season she returned to a formula she had previously tried and tested with her “lumps and bumps” collection some years ago in 1997. For a/w 2010, she stitched excess pillow-type adages to coats and dresses, giving them the silhouette of an American football player. Some pieces were more extreme than others; ranging from full on duvet-style coats and massive cloud-like ensembles in white to simple shoulder-padded jackets at the other end of the spectrum. The quilted effect of the added bulky fabric gave the strange appearance of life jackets or harnesses. Despite the initial confusion at the concept, several of the coats were thoroughly wearable though, proving that as usual Kawakubo might be on to a winning formula.
Words by Rebecca Cope
Images from Style.com
Edited by Shak - Yesterday at 8:58am
The latest installment of Dior's online advertising for the Lady Dior handbag.
Written by Franz Ferdinand, Marion Cotillard sings lead vocals for "The Eyes of Mars". The video encapsulates a mix of the sultry and machismo identity of the brand. Marion, of course, provides a convincing performance, although I'm sure many prefer the sultry portrayal of 'Lady Dior'.
Christian Dior
In a brisk canter along Galliano’s Eighteenth century byway, Dior’s Ready-to-Wear collection was a continuation from daywear pieces presented in his Couture show in January. Emerging cloaked in a supple leather highwayman’s cape to the note of horse patter, the hint towards equestrian pursuits was unabashed, as out poured riding jackets, jodhpurs and redingote shapes with a citified subversion. Nestled under fur-frilled jackets, ruffled chiffon babydoll dresses were a romantic chasm from which thigh-high boots cascaded from beneath. Delicate ruffles were an enticing feminine undercurrent as the underwear as outerwear trend infiltrated the country amble, which culminated in diaphanous floor length eveningwear. Marrying this with the refined tailoring, the burnt red and chocolate palette was suffused by ivory, pastels and an infusion of black.
A cultural collision of Alber Elbaz’s African heritage and current appointment as UN ambassador, alongside his reputation for structured, clean silhouettes resulted in a fusion of constructed tailoring for the urban woman with an African tribal inference. With a minimalist mantra, constructed sleeves also seen at Calvin Klein created irregular placement of volume centred around the shoulders, and tapering at the thigh. As the collection unfolded, constructed one-shoulder dresses and cinched-waist A-line jackets became heavily accessorised, a necklace here, a belt there, a bag, a fur sleeve. Draped toga shapes emerged from under pleated skirts and boxy jackets, juxtaposing the relaxed jersey with the constructed shapes. Also worth a mention is the intricate ostrich and marabou feather fringing that navigated the chest like a breast plate, and was accompanied by tribal wooden and metal jewellery.
Vivienne Westwood
Always a vehicle for a political message, Vivienne Westwood’s mainline show wouldn’t have been the same devoid of punk-based political messages that her brand has formed its ancestry upon. As much a lesson in styling as a catwalk show, a bricolage of slung blankets, layered skirts and historical references resulted in happenstance fashion. ‘Stop Climate Change’ was the single slogan emblazoned across a purple jersey, jutting out from behind an oversized ruby red jacket and tucked into a puffball binbag-esque skirt. Insubordinance reigned supreme as look after look steered away from a cohesive aesthetic; a camel trouser suit with construction set askew, boxer shorts tucked into tights and topped with a faux-crown, a dishevelled faux fur coat: but each look had the draped indifference of a self-assured brand and founder who embraces a no-knickers nonchalance.
All images from here.
Last night saw the private viewing of The London Book Trade exhibition in London's prestigious City Hall, in collaboration with The London Culture Strategy Group. The opening of the exhibition, by emerging photographer Mike Tsang, tied in neatly with World Book Day, celebrating the tactility and agelessness of literature, printed and bound – qualities often forgotten in today’s digitally dependent society.
The photographer spent three months working on the portrait series, which depicts dealers of rare and antiquarian books in their various environments in London. The result is the first-ever photographic series to be taken on the many fascinating characters in this eccentric but unique British trade.
"The London Book Trade" will be displayed in City Hall until Tuesday 9th March (open Mon-Fri 8:30am-6pm). Entrance is free.
For more
information on the exhibition or the artist’s work, visit here.
Edited by Cat.85 - 05 Mar 2010 at 5:49pm
Balenciaga
Formidably one of the most anticipated collections at Paris Fashion Week, Nicolas Ghesquière has done it again. In keeping with Monsieur Cristobal Balenciaga's innovative cutting methods, that honed such historical pieces as the balloon dress, Ghesquière adopted 21st Century methods to create intricate forward thinking pieces. Utilising machine-perforated fabrics guised to look like delicate lace dresses and cashmere dimpled to look like industrial foam and fur shaved into quilting, you would be foolish to think that this looked like any run-of-the-mill Autumn/Winter collection. Transient flashes of flame orange and aqua gave a fleeting hint of an Indian summer, whilst pale mustards, nude, and white offered breaths of crisp sunny winter mornings, however the darker and colder elements of the anticipated season came through in structured cigarette pants, and architecturally cut square collars protruding from the neck offering a decidedly geometric theme to the collection. Pewter quilted ensembles kept a space age feel as did the odd silhouettes making the models torsos appear barrel-like, made possible with a generous helping of fur, but what shone through in this collection was the deliberate reference to the industrial – perhaps a high fashion interpretation of the recyclable fabrics being used by ethical labels, this was supported by the newsprint fabrics that were swiftly turned into a-line cut tops, and skirt ensembles utilising once again complex cutting methods.
A somewhat vulgar, yet wearable collection is what
Christophe Decarnin chose to offer at Paris Fashion Week. Obvious references to
baroque fleur-de-lis motifs and other 17th Century hooks was
evident, but that ever so popular fabric for Autumn/Winter 2010 burst its way
out again in full force, Gold brocade is loud and proud and is definitely
shining through in all it’s grotesque glory for the upcoming season. Some
intricate teaming was found in this collection with cut away jackets atop sheer
breast bearing blouses, tapered trousers and neck ties were flying the flag for
wearability, but full-length metallic thigh bearing gowns slashed right down to
the waist hosted that trademark Balmain sex appeal, with its rock n’ roll edge
stomping out in lace up heeled boots.
Finally, some Class A high drama, dark humoured
Autumn/Winter apparel from none other than his conceptual self Rick Owens.
Describing the new-age-fembot warriors he presented on the runway as "Glamorous
nuns, with inner discipline" which sort of makes sense of his latest offering. A-symmetric
cuts and zig-zag patterned legs transformed the female form into something powerful,
sinister and not to be taken lightly. The colour palette stayed in the dark
realms of grey, and black with the occasional dash of dusty gold and a fleeting
pass of tangerine, almost evoking a tribal reference, as did the ruffles of
jersey fabric formed into an angular cascade from the pelvis that poked out
from under haphazardly cut coats. Owens experimental approach to textiles was
evident, with puffed quilt like fabric being thrown on in robe-like fashion
once again combining the urban with the tribal. This was certainly a strong
collection which sends out a unique look for Autumn/Winter.
All images from Style.com
Edited by Shak - 05 Mar 2010 at 11:46am
Giles collection this season takes a new-sophisticated twist taking inspiration from the lady-like styles of the 60s and mixing it with a sci-fi interest. However the catwalk may have begun with pieces reminiscent of a previous decade, this is only the beginning as the garments gliding down the catwalk slowly un-age the models. Starting with A-line skirts, corsets and leather-boned shoulder pads the show quickly turns to flowing rose petal cocktail gowns accompanied by caricature bags (in the shape of a gonk and a gremlin) designed by Katie Hillier and elaborate wire "cloud" headdresses by Stephen Jones. These statement pieces added the sense of tongue in cheek attitude we have come to love from the man that once indulged our childhood lusts with last season’s dinosaur handbags (S/S 10).
Gareth Pugh is not one to stay within the boundaries; he continually pushes our perceptions of reality, creating garments for super human goddesses and gods. This season is no different. The collection welcomes us to a world of leather clad, geometric cut garments that strike the drama that Pugh is known for, however the collection also develops a softer edge with draped chiffon and fine chains layered upon the body to create a modern day 1920’s power dresser. Throughout the pallet stays within the black spectrum, with an odd glimpse of grey. This once again will be no surprise to Pugh fans, however the block use of monotone emphasis the dynamics of the garments cut and accentuates the structure, which is key.
Dries Van NotenA fifty four-piece collection where every look is wearable to many occasions is not an easy feat but Dries Van Noten has created just that. The collection is a stylists’ dream combining the amalgamation of textures, print, classic menswear pieces, metallic, sophisticated tailoring, topped off with an array of accessories. Prints intentionally clash (between scarves and dresses), shoes are made to a thick degree that they almost become wedges and what seems to be traditional combat camouflage has been transformed to illustrate dusk flowers illuminated with hints of gold. This collection on paper seems unusual and undesirable however the subtleties and fabric choices that are employed leave us with an artist’s pallet of choice that is unexpected and very beautiful.
Anne Valérie Hash’s A/W 10 collection had simple tailored garments at the heart, yet the beauty of the garments lie in Hash’s unusual choice of fabrics. Soft jerseys featured throughout and were often constructed within looks with many layers, in contrast to this many garments from the collection left very little to the imagination, made (if not entirely then partially) from organza in jewel-like colours. The design of cropped trousers with a longer leg layered in organza underneath was also an interesting fashion that featured throughout.
All Images: Style.com
Edited by RebeccaHawkes - 05 Mar 2010 at 8:42am
Here is the official RGM version video for the recorded version of "This Too Shall Pass", Directed by James Frost.
See the making of the video after the cut
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Paris Fashion Week Highlights - Day 6