September 18, 2010
If there was one backlash that the minimalist movement of fall had this season, it was the ominous white that had befallen on New York. Thankfully, Suno was amazing in every way possible, the greatest being able to cleverly predict the future, so as to capitalize on this creativity white-wash (a term that is so often used now, there's hardly a need to have quotation marks).
The designer duo of Max Osterweis and Erin Beatty managed to hit all the right notes of what a Spring collection should be. Incorporating the many different traditional Kenya kanga fabrics that were made in artisanal factories in the African nation, this collection had charmingly infiltrated every nook and cranny of my mind, subtly exerting its power and sending me off into delirious obsession. The references were not literal, it wasn't that banal tribal African look that had been done to death. Instead the clothes had an quirky, off-kitler quality that resembled a good ole' fashion collection. The skilled mix of prints and fabrics only added on to the hype that the duo might just be the new big thing to refresh the New York scene. Maybe it already has. No, that's a definite.
Perhaps this is the direction that I would taking on for Spring and justifies my inner print mixing that has been suppressed for far too long. It wasn't contrived, nor was it insanely hard to carry off. Now, is there any designer out there who is daring enough to create such prints for men? Seriously, maybe it's time for all of us to unleash our hidden print addiction.
September 12, 2010
Fashion week has arrived (as if you already didn't know that) and instead of the usual suspects, I think I would like to cover more of the lesser known gems and newer talents which collections really resonate within me. But honestly, school is making it very difficult for me to go through every collection on style.com. But I'll try.
One of the first few designers that really wowed me this season was Michael Angel. For Spring 2011, he presented a collection that was based on prints and more prints. But before you start going into, "Prints, how ground-breaking for summer?!", I think Michael Angel was able to make them into light, ethereal dresses, and those were visually mind-blowing. Though I have to admit that there have been a couple of designers who have done the whole computer-genterated-prints-look, but seriously, I don't think anyone will ever get bored looking at them. There was also a hint of subversion in the use of men's shirting in the dresses, and this was a definite two thumbs up from a HUGE collar fan like me.
Now, let me enter my fanboy mode (instead of the sophisticated ways style.com reviewers usually are.) I loved the genius use of layers in this collection. The idea of revealing and hiding has been seen on the runway more times than none, but I thought the use of latex, (which reminded me of Patrik Ervell) was ingenious in getting the message across. Layered over the dresses, it was a interesting take on the perception of prints and colours . Though it may seem pointless to incorporate latex over a skirt, I felt the way it was cut (the tailoring was A+ by the way) and how it was thoughtfully placed, gave it depth and a whole new form of texture.
I think Michael Angel needs to make this latex and prints work for men, or otherwise, I demand this collection to GET ON ME!
September 10, 2010
I woke up today, with a strange sense of excitement, one that is usually reserved for Christmas mornings and the start of school breaks. Perhaps it was the dream I had last night, and its content I shall not tell. But more than that, I think I can attribute it to a plethora of reasons. As I switched on tweetdeck this morning, I could almost sense that something big was happening (and I was left out of it), the immense adrenaline diffusing from the screen to reality hardly make things better.
Abbey Lee had grown platinum blonde hair, or perhaps she always had a great way of covering up the fact that she was an albino all this while. Until now that is. And as I continued to scroll down, there came fast and furious, the unpleasant "reminders" that I had feared previously. Do I really need to know the "cult of Kate Lanphear", or Chanel Iman arriving at a Chanel Party, or Alexa Chung being the most enthusiastic dancer (and a whole lot more about some Chanel party that only served to make me hate this cruel world more than before)? Were all these tweets planned-lying dormant all this while, only to explode on us poor measly creatures and mocking our sad predicament? This, I believe was the work of the "high-up-there"s at Lincoln Centre. (And because of that, I'm demanding a life-time pass for fashion week.)
And as the truth started to sink in, my excitement slowly morphed into a vortex of emptiness. It was NYFW and I'm stuck 12 hours into the future, in Singapore. Which meant live-streaming would mean nothing, unless someone invented some sort of magical way to live-stream them into my dreams. And so for all you sad sad creatures out there who are curling up on your beds, still waiting for that elusive fashion week invite that might just never arrive, here's another reminder, "IT'S NYFW! AND YOU'RE HERE AND NOT THERE!" Let's all huddle together and cry. For the Lord may hear us. And might just send us into the arms (or rather the seats) of Rodarte.
Photo of Altuzarra Spring 2011 preview via vogue.com
February 17, 2010
It is easy to pick apart the inspiration behind Alexander Wang's Fall/Winter '10 collection. Wang said he was thinking about tailoring, specifically Wall Street suiting, and also something much more liberal like the gypsies and nomads. The stark contrast between these two groups of people; one who made money; and one who stole money eventually became the starting point for the whole collection.
As with Alexander Wang, when he does a suit, it never ever comes out as a suit. Basically what Alexander Wang did for the classic bespoke Saville Row suiting was to completely Wang-ified it: which meant deconstruction and reconstruction, slicing apart the classic elements of mens suiting, ripping out the seams, chopping off the pockets, cutting out the flaps, and sewing them all back together into a Alexander Wang masterpiece. Something like a fashion jigsaw puzzle, in other words, but much more fun. In the end, what came down the runway were a group of sexy "deformed" creations: pinstripe jackets morphed into dresses, jackets that were cropped and split just above the ribs, the midsections of jackets being completely ripped off, and the entire ends of the suit (complete with pockets intact and blazer buttons details) were cut off to form the skirts and shorts. Good man (would you really call Wall Street bankers good men?) gone terribly bad girls, you would call it.
The idea of the classic suiting inevitably segued into evening wear. Elements of classic suiting such as pinstripe wool and pocket details of a blazer were incorporated with lace into a dress, while pearl-embroidery, lace and lots of velvet were seen on other dresses. It was as though Alexander Wang had decided to go into unchartered territory and had challenged himself to do something new and different, as seen by the experimentation of draping for the closing dresses. Very Lanvin-esque but with the bad boy appeal of Alexander Wang, the dresses will prove to be a hit with the Wang-fans who are growing to be more and more sophisticated.
This was no doubt a very brave and innovative collection and Alexander Wang has proved that he has no doubt what it takes to stand up against the biggest names of fashion.
