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January 19, 2010

Sorry Prada, I've no inspiration to do a review for you. Maybe later. I think I'll do Balenciaga first.

I'm very sure that 80% of Balenciaga profits goes into fabric research. They probably even have their own research and development department and this is what happens everyday:

"Now, make me a new fabric that's light as chiffon but I want it to be very structured and have plenty of volume, VOLUME!!! MOVE, MOVE, MOVE!!! I need it for the Fall collection!" Nicolas Ghesquiere comes into the room, stroking his whip in his hand and occasionally snapping it in the air, producing a loud "ktsh, ktsh, wtshh" sound.

"This is not couture, for God's sake. Am I really asking too much? Am I reaching for the stars here? Not really. If Alexander McQueen can produce a Spring 2010 collection that got Anna wanting for more, I honestly don't seem why I can't. He has these aliens from the planet of "IHateFashion" to work for him and if you people can't produce a new fabric every hour, I'm gonna have to employ the Oompa-Loompas." Nicolas Ghequiere cracks the whip for the hundred thousandth time. (Yes, there are actually workers who are quietly counting the number of times he cracks the whips).

"And you," Nicolas Ghesquiere points to a meek old lady in the far corner knitting a jersey for his Fall Collection, "I said that I did not want cashmere for that sweater. Cashmere is so Jil Sander-ish. Make that jersey in a new fabric, something soft like chiffon, and thick like mohair."

"But...."

"Darling, you don't work for Angela Missoni anymore. You won't find any hint of love here. Nor will you be expecting me to invite you over for dinner, my dear."

"Lilo let's be serious. You are not trying. You are whining. What is that you want me to say to you, huh? Do you want me to say, "Poor you. Nicolas is picking on you. Poor you. Poor Lilo?" Wake up. I'm just doing my job. Don't you know that you are working at the place that published some of the greatest artists of the century? Ungaro, Givenchy, de la Renta. And what they did, what they created was greater than are because you live your life in it. Well, not you, obviously, but some people. You think this is just another dumb old fashion house, hmm? This is not just any other fashion house. This is a shining beacon of hope for... oh, I don't know...let's say a young boy growing up in Loudon, a small town in France with six brothers pretending to go for fencing practices when he was really going to sewing classes and reading Vogue Paris under the covers at night with a flashlight. You have no idea how many legends have walked these halls. And what's worse, you don't care. Because this place, where so many designers at Central Saint Martins would die to work you only deign to work. And you want to know why I don't kiss you on the forehead, give you a gold star on your homework at the end of the day and offer you a 50% off Balenciaga merchandise. Wake up, sweetheart.

"Now why did that sound so familiar." Lilo mumbles under her breath.

"You low, miserable fools had better invent a new fabric by twelve midnight. And be thankful that you are not working for Karl. Do you know how many Chanel 2.55s they have to sell, just to cover the law charges against them over the deaths of their workers. And no, they don't just die of overworking." Nicolas Ghesquiere walks across the room, with the ominous-looking whip brushing against the faces of the workers as he walks past.

The End. (This story is just my fantasy going wild and it's mainly for humour.) I still love Balenciaga and Nicolas Ghequiere.

What was suppose to be a review turned out into a long boring story. I think I'll save the review for later.

January 11, 2010

Designer's sketches.

I'm proud to say that I can draw as well as Leonardo Da Vinci and can produce the Mona Lisa with my eyes close. Then, I get back to reality and stare at my sketches which look like the doodlings of a five year old. Wishful thinking.

Marc Bohan for Christian Dior

James Jean for Prada Spring 2008

Christian Lacroix

Giambattista Valli

I somehow do love these sketches. The alien heads are weirdly pretty.

Versace

These are apparently done by illustrators for Versace and not Donatella herself. Nevertheless, they are gorgeous.

Nicolas Ghesquiere

I love how simple these sketches are.

Alber Elbaz for Lanvin

I love how Alber just draws only the eyes and lips. I'm strangely comforted by the fact that I draw like Alber. Hee hee.

Images via TheFashionSpot

January 09, 2010

A look at Nicolas Ghesquiere for Balenciaga through the years. These are what dreams are made of.

This is in no way a post about 'ooh, it's already ten years. It's time to reminisce about the past." Anyway isn't it a little too late to do it now.

1st row:

Spring Summer 2000: Dolman sleeves, sack dresses, slim pleated pants.

Fall Winter 2000: It was the 80's reinvented, but constructed without any hint of the past.

Spring Summer 2001: Pleated, ruffled, embroidered. Cut, twisted and manipulated in the most craziest way possible.

2nd row:

Fall Winter 2001: It was not just a Nicolas Ghesquiere for Balenciaga show, it was a show by a designer that was heralded as fashion's new big thing. Impeccably executed designs, amazing workmanship, it was nothing short of being the most watched show of the season.

Spring Summer 2002: Patchwork microdresses and jackets.

Fall Winter 2002: A mix of leather, oversized knitwear, and shaggy ivory coats

3rd row:

Spring Summer 2003: Surfing(Hawaiian surfer prints never looked this good), Diving, Baseball. "When it comes to absorbing and recasting influences, Ghesquiere is fashion's champion left fielder, and that's what puts him in a different league."

Fall Winter 2003: New proportions and intriguing shapes. These are what to become Nicolas's trademark: breaking the boundaries, playing fearlessly with new volumes and fabrics. And that propelled him to the top of the fashion hierarchy in no time.

Spring Summer 2004: Gasp, where's Balenciaga's signature pants? In its place were ultra-feminine silhouettes that had a futuristic edge to it, that were enough to satisfy our desire for the missing trousers.

4th row:

Fall Winter 2004: The ever-so famous (and chic) aviator jackets, and gazar balloon skirts from the archives of Cristobal Balenciaga.

Spring Summer 2005: It was a definitely more grown-up collection but still super chic and ultra-classy.

Fall Winter 2005: "What held it all together was the synthesis of vintage couture and Ghesquiere's sci-fi obsession."

5th row:

Spring Summer 2006: Frilly illy lace

Fall Winter 2006: It was more than just equestrian, it was of crazy volumes and new proportions. Exquisite couture-like show, something only Nicolas could produce such a show. Ranks as one of my favourite-st shows at Balenciaga (but then again, I have a lot of favourite-st shows at Balenciaga).

Spring Summer 2007: 'When I was young, I would have these dreams about the future, and this was what everyone wore."

6th row:

Fall Winter 2007: Jodhpurs, blazers, scarves, and ikat prints that fueled a global industry of knockoffs. Is this the biggest compliment a designer can get?

Spring Summer 2008: "This was Balenciaga in full bloom, a splashy riot of hypergorgeous hydrangeas, pansies, peonies, daffodils and anemones. Short sharp essays in couture technique" Pure genius.

Fall Winter 2008: A nightmare gone terribly good, a dream gone terribly wrong.

7th row:

Spring Summer 2009: Sci-fi couture. Ghesquiere works without references and narratives, pushing experimentation with new fabrics and cut to perfection.

Fall Winter 2009: 'When we go for something, you know, it's quite radical. So we drape kilometers and kilometers of satin.' Nicolas Ghesquiere.

Spring Summer 2010: "That kind of work can't be replicated anywhere else but in this house, and if there's an argument for high fashion versus low, this is one of the stronger defenses that exists." Sarah Mower.

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