Cher Michel Klein: Fashion Fusion of 1960s and 1980s
@ 9:23 pm February 29, 2008Filed under: Paris, Runway Shows
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PARIS, Mar 1, 2008 / FW/ — The 1960s and the 1980s are so different from each other that even in fashion terms there is a generation gap. But Michel Klein was not daunted. He mixed elements from the two decades, which actually turned out to be chic and sophisticated.
Remember the tent dresses? Michel Klein reworked them to become coats with platinum toggle closures, raincoats with folded collars and apron dresses paired with knee-high patent-leather boots.
As for ‘getting physical’ during the 1980s and of course, the rise of the ‘working girls’ in Madison Avenue and Wall Street, Michel Klein brought back the double-breasted six-button coat but gave it kimono sleeves and gave the bodice darts to show the woman’s figure while cutting the hemline short. Pairing them with lurex or black leather tights, the look is actually sharp and modern.
Still, the best is what Klein had done with the knitwear. Using contrasting weaves, the sweater dresses became fashion statements by themselves. And of course there were the cable wool sweaters and cardigan cum coat that are just the epitome of contemporary style.
Viktor & Rolf Wants Fashionistas To Say NO
@ 1:31 pm February 29, 2008Filed under: Paris, Runway Shows
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PARIS, Feb 29, 2008 / FW/ — It was the former U.S. First Lady Nancy Reagan who made the phrase ‘Just Say No,’ fashionable as part of her campaign against drug use. And last Tuesday, Dutch design duo Viktor & Rolf put the word ‘NO’ center stage in their ‘fashionable’ protest against something.
With words like Dream On and Wow, and the word NO on the clothes, even painted on the models’ faces as part of their make-up, the message could have been about anything or everything.
Was it NO to drugs, like Nancy Reagan’s message; or was it NO to the fad diets that seem to permeate the consciousness of women, whether they are part of the fashion set or a suburban housewife. Was it NO to all forms of chauvinism and prejudice? Was it NO just to say no?
After show interviews revealed that Viktor & Rolf were saying no to ‘fast fashion and the non-stop pressure that modern day fashion designers are exposed to day after day.’
“We wanted to say no to the permanent stress machine that is fashion. We love fashion but not all aspects of it,” Viktor & Rolf told reporters after the show.
Alright, this fashionista agrees; and truth be told, there are many more things that can be added to the list, but that is for another article. Meanwhile, it’s time to focus on what Viktor & Rolf truly proposed this season.
Snug fitting trench coats with bias cut skirt, making them look so feminine; ruching on a placket-less coat with ruffles as collars. And the best part – the boots that looks medieval in origin but with layered scales, it looked futuristic.
Lutz Fall 2008: Transforming High Concept Shapes To Wearable & Covetable Silhouettes
@ 12:25 am February 29, 2008Filed under: Paris, Runway Shows
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PARIS, Feb 29, 2008 / FW/ — Inspired by the umbrella, Lutz took elements from the parasol’s regal past and noble antiquity and incorporated them to the brolly’s functional shape to create a modern, wearable and artistic collection.
Though the word ‘wearable’ has a bad connotation to the European fashion critics (it translates to commercial in their eyes and ears), the word ‘wearable’ is being used here without any negativity. Rather, it is being used with admiration for the designer who had transformed his high concept shapes to covetable and aspirational silhouettes.
Playing with length and volume, jackets, coats, trench coats and large cashmere jumpers were elongated horizontally to create an umbrella-like silhouette.
Influences from the eastern parasol were seen on dresses that were cut out of large squares of silk crepe and then taken into big folds. Blazers and cardigans were also given the same treatment, and then pulled in at the shoulder to create generous volume.
Long multicolored chiffon scarves were draped to create graphic and light tunics and dresses; while a fitted knit dress and cardigan are covered with large squares of chiffon silk as external lining.
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(Photos courtesy of Lutz, click on image to see bigger photo.)
Max Mara Fall 2008: Serious Pleasures
@ 9:28 am February 28, 2008Filed under: Milan, News, Runway Shows
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MILAN, Feb 27, 2008 / FW/ — Max Mara is a fashion brand that has always pushed the traditional into something new and contemporary. While inspirations themselves, may come from all time periods it is the modern day that Max Mara designs for. For the Fall Winter 08/09 collection, inspirations came from film noir glamour and Roxy Music but as always there was strong, signature, Max Mara tailoring.Throughout the seventies the UK band, Roxy Music, was one of the foremost bands of its time. Getting high acclaim in both its home country and Europe they were inspirations for a number of trends for that time periods. Punk, New Wave and New Romantic were all significantly influenced by this band and with Amanda Lear and Jerry Hall bestowing their album covers it’s no wonder. They were icons of there time and now inspirations for ours, especially MaxMara’s Fall Winter collection.
Shoulders were a key point to jackets, with exaggerated shapes and sizes. These design details spoke to the futuristic style of Roxy Music as pointy rounded shoulders and shoulder embellishments donned everything. From knit sweaters with braids around the shoulders to jackets with specially formed shoulder pads there was barely a moment when the shoulder wasn’t adorned.
Grays, blacks, and creams were the ground works for the colors, creating that film noir elegance so famous in the 40’s and 50’s. While the color variation may have been minimal the textures were the ingenuity in the collection. From transparent chiffon and sparkling jersey to long furs and thick knits, the collection blended an array of bold elegant fabrics.
Jackets were on the longer side with most staying in the range of hip to mid-thigh. Knits on the other hand took the shorter role, cut off at the waist and even in bolero form. Knits were soft and fuzzy or large and bold, each creating a unique texture and form.
Dresses were simple and elegant letting the drape of the fabric work the beauty. Floor length or above the knee, they were sexy and strong at the same time. Like the film noir woman, MaxMara worked at creating something so appetizing that people are willing to take on the obvious dangers. The MaxMara woman is full of confidence and sensuality but she also is on a mission and willing to take risks to accomplish it.
Emanuel Ungaro Fall 2008: Esteban Cortazar Debuts in Paris
@ 12:21 am February 28, 2008Filed under: Paris, Runway Shows
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PARIS, Feb 28, 2008 / FW/ — New York’s fashion darling Esteban Cortazar debuted at Emanuel Ungaro today, making the 23-year old American designer the talk of the town during a day when he had to compete with fashion’s big names to the likes of Karl Lagerfedl, Akris, Ennio Capasa of Costume National, Dries Van Noten, Christian Lacroix, Givenchy and Hussein Chalayan.
Proposing fluid silhouettes in sorbet shades of winter colors, Esteban Cortazar is taking the venerable French fashion house into a new path. While his predecessors chose to highlight the original Emanuel Ungaro prints, to the point of mining of the archives and literally just lifting the silhouettes, the Miami-based fashion whiz kid is bringing Emanuel Ungaro nearer the hearts of his generation – the Millennial.
“I want Ungaro to be cool, I want every girl to want to dress in Ungaro,” Cortazar told reporters. With huge braids as the main adornment, to the point that it was the most remarkable aspect in the collection, Cortazar arguably brought the house into a different plane in fashion in one season, something his predecessors were not able to achieve.
Though Cortazar received mixed reviews (some critics loved it, some did not), it also has to be noted that for the first time, people are talking about Emanuel Ungaro, instead of the usual ‘could not care less attitude’ from the fashion set on what the house was doing.
True, the collection is nowhere near the spirit of Emanuel Ungaro; yet it also has to be noted that previous attempts to revive the prints and romance associated with the house had backfired. Only the designer Emanuel Ungaro himself can do an authentic Emanuel Ungaro. Anyone trying to mimic him is just a poor imitation.
In short, Cortazar’s decision to take a different path was logical, even called for. With the house rooted heavily to the 1980s, even the 1990s, bringing it to the new millennium might actually mean reinventing the brand.