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September 18, 2010

spring 2011: suno

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 15, 2010

spring 2011: preen

Urgh, I don't know what happen to New York, but I'm not liking what I'm seeing so far. It looks like it's only appropriate to rethink what I've written in my earlier review, "Prints, how ground-breaking for summer?!" Considering what we have seen for the last few shows, any hint of colour and print would be able to make me go dizzy in joy. Somehow, somewhere, last season's minimalist looks have been translated into white, white, white and Calvin Klein-ish minimalist white for spring, which makes it utterly dull and boring. Isn't spring all about colours and prints and fun and optimistic fun? As Cathy Horyn aptly describes the severity of this situation, "if the white trend continues for spring, Barneys could end up looking like a bridal salon, or a uniform supply store for nurses."

Given my disdain for the colour, I can't quite fathom how I am actually attracted to the whites at Preen. Whilst Justin Thornton and The Bregazzi cite Egypt and the Arab countries as their main inspiration (probably not so much of the prints obviously but rather the play of light), what manifested in this collection was instead the clever balance between the sheer and luxurious. The color palette was incredibly therapeutic too, probably because it wasn't the same sheer white that designers have been ramming down our throats since the start of fashion week. It was more of a mix between white and grey and given a pastel-y treatment. And this, I am very very thankful of.

The sheer dresses have become a staple for the runway this season but I thought those from Preen were able to stand out from all the ghostly, "oops, this is a little too transparent, maybe we need a little of Lindsay Lohan heart pasties" frocks. The duo was able to find the right balance of transparency, which then translated to luxurious, silky, ethereal dresses, that was anything but vulgar. The details too were quite amazing, from the pleats and diamond, fishnet braiding to the more elaborate Grecian tile prints. This is again a time when I wish style.com had the detail shots (I know I've said this too many times.)

A pity style.com runway photos were a photography disaster. As such, I recommend everyone who hasn't yet been converted to head over to The Sartorialist.

I wasn't feeling the prints as much I wished I had, neither did the hair do justice to the clothes (the models looked like made-in-china barbie dolls replicas). But overall, the off-white tones and the suits (the belted suit below was my favourite) managed to seal the deal for me.

September 12, 2010

spring 2011: michael angel (omg a proper title at last and also because i'm an efficient reviewer)

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 guess it's finally here

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 26, 2010

the virgin suicides

The first post since the revival and renewal of the blog. The pressure of writing a good post is definitely there but what better way to start off a fresh new page with one of my favourite shows of New York. Looking at all the past shows that happened two weeks ago, I felt that New York Fashion Week was kind of a bummer. The Holy Trinity of New York- Alexander Wang was good for only the first part of the show when he did the deconstructed suits, Proenza Schouler didn't quite match up with the energy they did for Spring, and Rodarte wasn't exactly love at first sight. It took me quite some time of re-watching the videos, looking at the details up close and understanding the concept behind the show to actually appreciate this Rodarte collection.

This Rodarte show was very different from any of what the Mulleavy sisters have done before. It was neither a repeat nor a continuation of anything they have done in the past. Though the silhouettes and shapes uses were very signature Rodarte, the show had a really different feel to any of their previous shows.

The Mulleavy sisters had mentioned that the concept behind this show was the idea of sleepwalking. Well not exactly sleepwalking as I would like to put it, but rather a sweet romantic little dream, as opposed to the slightly darker idea of a troubled border town and murders.

This show definitely felt more complex than any of their other shows. The mixing of the floral prints with floral prints, the "unsightly" use of gingham and the bulky knits. They weren't exactly perfect, there were flaws, but that was what the entire collection was all about. The idea of the subconscious mind of sleepwalking: nothing is ever taken straight out of the mind and translated to perfect dresses. It was all pieced memory by memory into a dress, where inevitably one part of a memory got mixed up with another. The collection was never meant to be polish, it was of a half dream state, a half reality state.

But as with how the collection got even better to the end, I started to appreciate and understand this collection even more. This is a flawed presentation, it was meant to be and it should be. I tried imagining the collection being "normal", the floral prints mixed in with the same floral prints, the pants being tailored, but it just wasn't right. The Mulleavy sisters had built a collection of sleep-walking and not a perfect little day-dream. The beauty lied in the imperfections, not in the perfections, but the perfection of imperfections was certainly seen and felt. And that, I felt that the whole collection was very honest and sincere.

The long ethereal dresses at the end, I felt were just pure magical and pristine. But as to the whole collection, the floral prints did not just evoke sweet romantic floral scents but a certain hint of cold and darkness, the white dresses were supposed to be simple and something like a 'sorbet after a three-course meal" as compared to the mash-ups of fabric in the first half, but there was this slight feeling of the wearer of the dress being a little eclectic, a little lonely, a little distant, a little of an enigma, a little Boo Radley, a little of a Lolita who lives in a tree, a little of the Lisbon sister (very Cecilia, I thought). They weren't just simple white chiffon and lace dresses. In between those layers of white, there were slight streaks of black and grey.

The end was just a dream. As the dark lights fell during the finale, the models' shoes which were molded into melted candlewax, lit up. The clothes glowed (Oh yes they did!). The light may have been replaced with darkness, the flame extinguished, but the glowing candlewax revealed that the end hasn't yet come. It could be a reflection of the slight glimmer of hope in the darkness that many of the workers of the troubled border town of Mexico, which Kate and Laura had taken inspiration from, still had, even when it seemed impossible. Or they simply could be just the work of geniuses, Nicolas Kirkwood and Kate and Laura Mulleavy.

The collection was blurry, messy, imperfect-words that you would never used to describe something you liked. But this was it and it was a wonderful vision.

As candles melt, the wax gets left behind. And this wax continues to provide energy for the next flame and it goes on and on. The same goes with this blog of mine.

February 17, 2010

like a wall street banker who becomes a very sexy tranny.

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.

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