The Major Leagues: Vivienne Westwood Red Label and Matthew Williamson Spring 2011” y 7 mas |
- The Major Leagues: Vivienne Westwood Red Label and Matthew Williamson Spring 2011
- Would You Rather…? The Givenchy Haute Couture Edition
- Michael van der Ham’s Mixed Media
- First Look: David Koma’s Patchwork Peplums and Holly Fulton’s Deco Skyscrapers
- LFW Roundup: Basso & Brooke, Mary Katrantzou, Margaret Howell Spring 2011
- Osman’s Beautiful Cuts Still Come Out Flat
- Karen Walker Makes Ordinary Extraordinary
- Triumphant Minimalism at Narciso and Calvin
| The Major Leagues: Vivienne Westwood Red Label and Matthew Williamson Spring 2011 Posted: 20 Sep 2010 07:00 AM PDT
However, the better-known a designer is, the more pressure there is to put on a grand spectacle. Yesterday, two of London’s most well-known designers, Vivienne Westwood and Matthew Williamson, staged major shows. With very different results. Vivienne Westwood is a legend, and with good reason. So many of her dress and suit silhouettes, as well as her shoes, are nearly as classic as a pair of Chanel ballet flats or a YSL Le Smoking. But the difference between Westwood and the aforementioned designers is that they kept evolving, for better or worse. To me, Westwood’s look, as evident on today’s Red Label catwalk, never really changes. The clothes looked good–I really, really liked many of them–but could I discern this collection from a 2002 or 2005 runway? Maybe not, save for the model’s hairstyles.
       
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| Would You Rather…? The Givenchy Haute Couture Edition Posted: 20 Sep 2010 06:00 AM PDT
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| Michael van der Ham’s Mixed Media Posted: 20 Sep 2010 05:00 AM PDT
But van der Ham does something with his clothes that the Rodarte sisters have difficulty pulling off: Despite the mismatched prints and odd seam placement, his collection always looks clean, polished and pretty. I was particularly fond of the summer velvet Pollini shoes he used in the show, as well as the very unique colored crystals he incorporated into his looks. (As a Swarovski sponsored designer, van der Ham had access to the company’s vast crystal archive. However, not all of his peers utilize this privilege in such an impressive way.)             
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| First Look: David Koma’s Patchwork Peplums and Holly Fulton’s Deco Skyscrapers Posted: 20 Sep 2010 03:45 AM PDT
First up was Koma, whose pale pink, yellow and gold peplums continued on with the mood of the week. And he showed wedges–another big trend, I've realized. According to The Daily, London Fashion Week's newspaper, editors already hate kitten heels and are retreating back to wedges, which are "more comfortable." I think the lower you are to the ground the easier it is to walk, but I'm also a girl who's usually in flats.
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| LFW Roundup: Basso & Brooke, Mary Katrantzou, Margaret Howell Spring 2011 Posted: 19 Sep 2010 02:00 PM PDT
A mint green skater dress (the color trend continues) featuring an animal print panel opened the show. Fitted bodices flared into short skater skirts until tailoring entered the frame, through silk trousers with a soft envelope-folded waistline. Prints referenced city maps, Da Vinci's handwriting, architecture, botany and coral branches, all in soft pastels and slightly off-standard colors. Around look 20, bolder elements came into play. If an aquamarine-splashed leopard print read a bit South Beach in the age of Versace, it was at least closely followed by my pick for strongest piece in the show—a gorgeous cream silk dress that looked embossed with a snakeskin pattern, with fabric gathered and sewn for a gently folded effect—structured, yet entirely languid.
An ode to hotel rooms, her fitted little dresses featured hyper-realistic prints of fictionally rendered chambres, enhanced by plenty of architectural additions—shoulder pieces structured using curtain-hanging pelmet techniques, and long, wicker-looking trains resembling chair-backs at the Café de Flore. Lampshades even made an appearance, in the skirts—all with silk fringing or crystals that clacked satisfyingly as the models walked. Every garment had a wry turn: necklaces featured parts of chandeliers, or, where there were none, dresses had chandeliers printed directly onto the neckline or staircases refracted to form a graphic-looking necklace. All in all, an entrancing, more-than-slightly surreal show, sure to be one of the editors' favorites. Margaret Howell cleansed the print-sated palate with a restrained, classically Howell collection—what Madeleine of the story books might have worn had she moved to England, grown up and become friends with Alexa Chung.
Innovative? Perhaps not. But buyers will love the French-inflected classics, like the bateau-neck Breton stripe top with a French blue stripe, ¾ length sleeves and three crystal buttons on the left shoulder. Going straight onto our LFW wishlist are the mannish brown penny loafers worn by every model… who, by the way, looked fresh-faced, healthy, sweet and very happy to be wearing flats after yesterday's tumbles at Anastase.                
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| Osman’s Beautiful Cuts Still Come Out Flat Posted: 19 Sep 2010 01:00 PM PDT
Celebrated designer Osman Yousefzada’s clothes, which he showed yesterday in the space, are not crazy or schizophrenic under any circumstances. His pieces are all about the dramatic, clean cut. Most definitely a minimalist, he adds edge to ensembles with an asymmetric hem here, a flourish of flouncy fabric there. It’s difficult to deny his particular genius. But one thing Yousefzada lacks is plenty of funding. And unfortunately, that shows in the clothes. Minimalist fashion is often considered more challenging than the over-the-top variety, simply because mistakes are difficult to hide. While his cuts are spectacular, the fabric Yousefzada uses doesn’t have the same impact, which gives buyers little reason to bring him on. If the dress isn’t going to look good next to a Raf Simon’s piece, no one is going to spend money on it. Many have said that Yousefzada is the rising star of UK fashion, and we could believe it. His swinging dresses and rounded hems were a welcome change to the gaggle of prints that have been coming down the runway this season. Hopefully he’ll be rewarded with some support next year to create even more beautiful clothes.       
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| Karen Walker Makes Ordinary Extraordinary Posted: 19 Sep 2010 11:00 AM PDT
Looking at the beauty of mundane objects, Walker created effortless, wearable looks that made even the grouchiest New Yorker wish for summer’s breezy days. From sherbet colored, pajama inspired ensembles to gray tees with pop-colored full skirts, every look was uplifting. The feeling was of the ’60s, but not the uptown stuff you’re used to seeing on Mad Men; Walker’s looks were better suited for weekends bonfires set to Pet Sounds and Revolver. Topping of the sunny collection were ruffled bucket hats, and down below were loafers with a twist. And just in case it rains on your beach day, there were Tyvek raincoats with sweet ruffle details. SS11′s never looked so happy. All photos by Julia Silverman.        
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| Triumphant Minimalism at Narciso and Calvin Posted: 19 Sep 2010 09:00 AM PDT
Both designers went back to their roots for SS11. Cut was the star of each collection, each reworking minimalism in a season where it seems like everyone is striving to be the next Helmut Lang. But Rodriguez and Costa are anything but followers. Each has such a strong, focused voice–their collections stood out from the whitewashed masses like rays of light. Narciso Rodriguez’s show at the tents was a truly emotional experience. Everyone who matters in American fashion was there, and unlike many other shows where crowds of pushers and gawkers shuffle in the runways and down the aisles to get the best view, everyone was on their best behavior. The importance of the collection was evident even before the show had started. Opening with Caroline Brasch Nielsen in a sleeveless gray shift dress followed by Katie Fogarty in a creme silk and gray linen dress, the look was instantly ’90s. Clean, without any superfluous detailing, Rodriguez created an army of women that were simply beautiful. Rookie model Arizona walked in a nude bias cut silk dress that was effortless, and later as color was introduced, Shu Pei Qin wore a rose dress complete with red petal print. There were black suits infused with airiness, and finally in a breathtaking moment, Freja Beha Erichsen closed the show in a creme silk bias cut gown. Instantly, one could feel the audience thinking the same thought, “Caroline Bessette Kennedy.” But this collection wasn’t a greatest hits by any means; it was a reconstruction of the ideas that made Rodriguez the American icon he is today. It wasn’t a blonde idyllic Carolyn look-alike who closed, it was tattooed, hard-edged Freja, proving that Rodriguez’s looks are fit for every type of woman. Later in the week, Francisco Costa showed a comparably moving collection at Calvin Klein, so in demand that there were two shows running right after the other. I sat in on the second presentation, for press and buyers, a calmer affair, I’m assuming, than the first, which was filled with celebrities like Katie Holmes and Julianne Moore. Still, 39th Street was nearly closed down by the crowds of onlookers gathering outside the venue’s doors. Inside the vast white room, Costa presented a collection based on expert tailoring and a refined color sense. For seasons Calvin Klein was the front-runner in black and white fashion, and now when the rest of the world is turning to white, Costa introduced the most elegant coral and pacific blue. Narrow ties adorned the waists of many dresses and the boxy shape Costa favors has rounded around the edges, more conscious of the woman who’s wearing it. Lisanne de Jong emerged mid-show in a black racer-back dress cut high on the sides. But instead of being scandalous, it retained a body-con sensibility that made it truly captivating. Hanne Gaby Odiele strutted down the runway in a creme silk shirt and pants with a calfskin belt that added just the touch of hardness this soft ensemble needed. The show ended with a series of stark white silk dresses, each loose, lightly draped, and highlighting various erogenous zones. Lara Stone closed the show in a black belted dress–another breathtaking moment. Don’t expect any more Lara this season; the newlywed won’t be in London, Milan, or Paris she confirmed backstage. Ultimately both Costa and Rodriguez breathed life into minimalism, blending structure with wearability and design with practicality. I never thought such a maximalist like myself would be so awed and moved by the purity at Narciso Rodriguez and Calvin Klein, but some beauty is universal it seems.       
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Most of the shows in London are super, super cool–
Williamson, whose career is still young when compared with Westwood’s, also continues to design for a very specific “girl.” She’s young, tan, and holidays in Ibiza (in a secluded home, of course, as to avoid the chavs). But unlike Westwood, he changes it up a bit each season, keeping in mind what the store buyer really wants. This spring, that included a macrame dress, washed satin blazers, and yes, a few colorful prints on long, flowing frocks. Altogether, it was an intelligent collection. It looked anything but staid, while staying true to Williamson’s overall brand and vision.
Who wears their Givenchy couture better, Vogue Paris EIC Carine Roitfeld or blogger extraordinaire Bryanboy? Either way it’s a win for leopards everywhere.
You can’t consider 
LONDON–It was back to the BFC tents this morning, where 
But I digress. If Koma's looks were totally on track with London's current fashion feeling, then Holly Fulton's where on track with her own feelings. The designer–whose gorgeous, graphic, art deco jewelry is as integral to her collection as the clothes–did go '70s, but it was still distinctly her. Fulton, who worked under Alber Elbaz at Lanvin, was sponsored by Swarovski this season, and theirs is a sensible partnership. Fulton's flat rhinestone bib necklaces, which often match the pattern on her pastel, late 60s-style trousers and shit dresses, are certainly her best sellers, and with reason.
LONDON–Judging by the sparse front row, 9:00 am must have felt a touch early for the explosive print clashes we've come to expect from the boys of 
Another London designer making artful use of prints is 
There were crisp white shirts, wide-legged dark indigo denim trousers, softest peach silk shirts, starched nightgown dresses, khaki Barbour-esque macs, and darkest navy pleated skirts, sheer enough to divulge a hint of the bloomer hem beneath.
LONDON–There’s something about the 
With William Eggleston’s photographs and a clothespin silk print as starting points, 
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