ECOTRICITY – #VWAW1718
The show we present in London Menswear fashion week is for man and woman. A lucky young woman, she comes from a privileged part of thè world where she’s been well cared for by loving parents. She’s intellectual, artistic, and adventurous. Let’s hope thè bloke had thè same chance in life. They love our clothes; we’re a high fashion company – a happy company. It’s skilled, labour intensive, rather artisan; one of its features is that through our cutting principles we mass produce clothes that look couture. She and he are having fun with Unisex and swapping clothes. ‘Buy less, choose well, make it last’ limits thè exploitation of thè planet’s naturai resources. He and she have joined Intellectuals Unite (IOU) and are becoming ever more scared of Climate Change. Our hair stands on end. We wear a paper crown. Who are our rulers? We don’t accept thè rule of thè million, we want people power / democratic rule. We want a responsible govemment, responsible to people, not only responsible to banks and conglomerate monopolies. Stop Climate Change.#VWAW1718
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Tags: FALL WINTER MEN 2017-18, FALL WINTER WOMEN 2017-18, VIVIENNE WESTWOOD, VIVIENNE WESTWOOD FW 2017-18
Tue, January 10 2017 » Fashion Blog
Tue, January 10 2017 » Fashion Blog
Mon, January 9 2017 » Fashion Blog
It’s a collection in continuous evolution, constantly transformed by notions which arrive to challenge the primary idea; like a road trip where colours, shapes mutate in different landscapes. An astonishing pink, fuschia or “porcelain”, chosen specifically for its dialogue with a kraft brown sweater in knitted cotton viscose.
It’s a summer season which lets itself be guided by a principle of uninhibited classicism where the silhouette is more marked, and the waist underlined and smocked.
The practical utility of uniforms celebrates the nobility of the craft which is the history of this house, taken as another starting point: pragmatic habits – of life.
Giving meaning to the garment. The surface is considered as quilted prints, a tribute to the saddler world of Hermès. Then it all changes, becomes more fluid. These clothes should become our dear friends.
There are links. Mercerized cotton pieces that so closely unite leather panels in shiny calfskin one by one – to form a jalousiewhich then opens a conversation with the ready-to-wear, this double face knitted silk, this silk cigaline. Everything is symbolic. Here the uniform has left a few traces – the robustness of materials such as compact cotton satin, the obvious simplicity of denim cotton drill milled for a jacket or a straight edge coat.
There are the beginnings, a tangled maze of kinetic patterns which deliberately twist the Cavalcadour print originally created by Henri d’Origny for Hermès. The illustrator Nigel Peake, has chosen his own diversions, raising his pencil to hatch this original pattern on a phantom pleated knit skirt or a long coat in taffeta stripes painted with a camouflage which is just the opposite. But there is also a strong control resting on these pillars, these high-waisted men’s pants encrusted with silk moiré ribbons with metal hardware.
There is vulnerability. The tenderness of bias cuts for apron dresses which escape into a myriad of triangular panels or which tame a long black and pond green dress in cloquée silk jacquard. Here delicate hands have worked on cut yarn shirts, dresses embroidered with fur stitches, accidents of softness.
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Tags: hermès, HERMÈS SS 2017, SPRING SUMMER WOMEN 2017
Thu, November 3 2016 » Fashion Blog
Thu, November 3 2016 » Fashion Blog
Mon, October 31 2016 » Fashion Blog
Mon, October 31 2016 » Fashion Blog
In 1977, Kenzo Takada showed at legendary club, ‘Studio 54′. Grace Jones performed, Jerry Hall walked. For this collection we want to celebrate the euphoria of an assembly of cultures. A space filled to the brim with individuals whose style speaks volumes. Women who wear distinctiveness as an expression of freedom.
An invitation to work with the archives of renowned artist Antonio Lopez was the starting point for this collection. Antonio’s work documents an iconic time in paris, of which Kenzo was an integral part. It felt relevant and exciting to pay homage to that, and re-interpret it for the Kenzo woman today. A woman like donna jordan or pat cleveland, both strong, beautiful and unparalleled. Grid-like photo formations, collages and sketches of polaroids once loaned but never returned. These images are transposed onto varying garments, offering a new lease of life to such beautiful imagery.
Ponchos, parkas and military raincoats are reimagined as light, voluminous dresses and blouses, in technical taffetas with metal snaps or drawstrings. Shiny fabrics – nylons, sequins, lamés are juxtaposed against cotton drills, raw denims or military cottons. Broken camouflage exists alongside classic motifs. Soft pinks are played against bright reds or cherry. Pink and blue lamés wax lyrical to disco anthems. Trousers and skirts are high waisted and with volume. Shoulders are softly rounded.
Accessories are worn as jewelry. Clutches become cross body’s through adjustable straps. Glittered and chainmail bags come as shoppers, harnesses or bum bags. Chainmail bandanas accentuate the neckline. Oversized crystal and sequined earrings reflect the light. Stiletto sandals walk with coiled heels.
Carol Lim & Humberto Leon
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Tags: KENZO, KENZO SS 2017, SPRING SUMMER WOMEN 2017
Sat, October 29 2016 » Fashion Blog
Fri, October 28 2016 » Fashion Blog
DATA CENTER CHANEL
In an ultra-technological world where daily life is increasingly dematerialised, Karl Lagerfeld puts humans back at the centre of everything by making “Intimate technology” the theme of his collection. His vision celebrates a woman walking through kilometres of cables, metallic racks and computer cabinets: she is the very heart of the Data Center CHANEL, she who is the final word and the mistress of this digital universe.
This season more than ever, with grace and tenderness, femininity takes control in a collection that allies the audacity of lingerie and the comfort of tweed. The Spring-Summer 2017 CHANEL woman wears her babydoll and negligee in silk and lace. And over that she nonchalantly sports a tweed jacket with rounded shoulders, long sleeves and wide lapels, and a pair of culottes zipped at the front and back. She wears a robot-clutch.
Her modernity is affirmed with new details through “new materials and a wardrobe that is not classic at all”, says Karl Lagerfeld. Touch fasteners replace buttons, braiding becomes a thick jersey cable; woven multi-coloured tweeds include rubber strands and vinyl strips; cotton, denim and wool threads line up like countless electronic cables; collars and cuffs are swathed in embossed translucent gauze.
Explosions of colour are everywhere over backgrounds of blue, red, yellow, pink, purple, black and navy, a mix of pastels and electric shades. This contemporary energy is equally diffused over caps in silk or tweed, sleek clutch bags in perforated silver leather, flat shoes with cross over straps, and the big pendant necklaces that resemble ID badges, held on with a snap hook. As if hastily pulled on, the unlined jackets and big coats in tweed, as light as knitwear, are worn over long skirts and pleated blouses. They alternate with slightly asymmetric jackets, accompanied by zip-up skirts with flat pleats that reveal silk and lace shorts beneath.
The new Gabrielle bag suggests a new way to be worn: its double straps are slipped on around the head like a sweater, and nonchalantly border the neck and shoulders, as would a long necklace. Cotton voile gracefully envelopes coats and immaculate dresses, punctuated with ruffled edge camellias. A full skirt in cotton voile is embellished with an entirely pleated XL camellia.
Technology comes attired in an unprecedented softness, on blouses with ruffled cuffs, and silk dresses whose motifs are inspired by the digital world, or other dresses with huge rounded pockets. It opens the door to an exquisite femininity, where silk, lace and crepe georgette intermingle in the most delicate hues of powder, pale pink, candy pink, blush and peach sashaying through to midnight blue.
From there on underwear becomes over wear: flat pleat or accordion pleated plastrons are tailored onto underslips and negligees while shell guipure lace petticoats and pyjama trousers in silk and lace cry out to be worn as daywear. Blouses combine touch fasteners, sequins that look like electronic components, feathers and flounces. Evening gowns focus on voluminous sunray pleats, trimmed with marabout.
This collection turns the spotlight on chic lingerie whose elegance contrasts fiercely with the reality of our automated world. Without the human hand, without delicacy and savoir-faire, nothing would be possible. After all don’t two robots wearing two CHANEL suits thus prove, perhaps, that more than any technological breakthrough, it is femininity that truly transcends time?
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Tags: CHANEL, CHANEL SS 2017, SPRING SUMMER WOMEN 2017
Tue, October 25 2016 » Fashion Blog
