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Proenza Schouler Spring 2016 Ready-To-Wear NYFW
 
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Follow me on www.twitter.com/thecouturetimes for the latest fashion news! Proenza Schouler Spring 2016 Ready-To-Wear NYFW NEW YORK, SEPTEMBER 16, 2015
Views: 16188 The Couture Times
Badgley Mischka Spring 2016 Ready-To-Wear NYFW
 
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Follow me on www.twitter.com/thecouturetimes for the latest fashion news! Badgley Mischka Spring 2016 Ready-To-Wear NYFW NEW YORK, SEPTEMBER 15, 2015
Views: 19603 The Couture Times
Dolce & Gabbana Spring 2016 Ad Campaign Film
 
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Follow www.twitter.com/leo_gamero for the latest on fashion. The inspiration of the Dolce&Gabbana Summer 2016 advertising campaign is life in Italy, the fanciful, positive life, made of genunity: food, history, love. #ITALIAISLOVE
Views: 11172 The Couture Times
Valentino Spring 2016 Ready-To-Wear PFW
 
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Follow me on www.twitter.com/leo_gamero for the latest fashion news! Valentino Spring 2016 Ready-To-Wear PFW from Vogue.com PARIS, OCTOBER 6, 2015 by SARAH MOWER Maria Grazia Chiuri and Pierpaolo Piccioli were thinking deeply about Africa when they were designing for Spring, and not on a whim. For more than a year, tens of thousands of refugees from Senegal, Nigeria, Eritrea, Mali, Gambia, and elsewhere have been making the harrowing journey across the Mediterranean to southern Italy. Packed into unseaworthy vessels, many are dying in appalling circumstances before they reach shore, a humanitarian crisis Italy has been dealing with by patrolling the seas, saving survivors, and giving them sanctuary. As in Germany, which has been receiving hundreds of thousands fleeing from the war in Syria, there has been a backlash against the new arrivals from some quarters. And this is what the Valentino designers want to counteract. “We probably feel that the greatest privilege in doing our work is that fashion can give a message,” said Chiuri. “We think every person coming here is an individual, and we can show that we can improve ourselves by understanding other cultures.” “The message,” added Piccioli, “is tolerance. And the beauty that comes out of cross-cultural expression.” On appearances, you would not necessarily guess at the very real and fraught situation running in the background of this serene and heartfelt Valentino collection, but the research, and the lengths the designers had gone to to educate themselves, resulted in some gorgeous fusions between Italian and African traditions. They met in the textiles and the way the Roman influences Chiuri and Piccioli had used in their couture show segued into tribal treatments—the strips of leather that began as a gladiator reference became studded; the Roman sandals gained carved ebony heels; the pagan necklaces of their former show now appeared in white ceramic, suggesting abstracted teeth or shells; and the house expertise in embroidery produced tiny beaded Masai-derived patterns and bold peacock feather trims. Both designers pointed out that their respectful borrowings are hardly new; they are part of a history of Western assimilation that goes back to Picasso and Braque’s embrace of African art in the 1920s, which, Chiuri said, “was the birth of modernism in art.” It came over as most modern in this show when it was at its most subtle, as in the black dress embellished with multiple layers of suede fringing, or in the manipulation of tie-dye patterns used as a camouflage-like material for summer utility jackets and cargo pants. In the end, though, while customers may not even notice the roots of the simple, breezy cotton printed Valentino dresses they are buying, the important thing is that the designers have used this opportunity to spell out where they stand on an issue very close to home. It will definitely be heard in Italy. Fashion is a frivolous and joyful thing, but that doesn’t prevent some of the people who are making it from having inquiring minds and a public conscience.
Views: 4816 The Couture Times
Reem Acra Spring 2016 Ready-To-Wear NYFW
 
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Follow me on www.twitter.com/thecouturetimes for the latest fashion news! Reem Acra Spring 2016 Ready-To-Wear NYFW NEW YORK, SEPTEMBER 14, 2015
Views: 3132 The Couture Times
Public School Spring 2016 Ready-To-Wear NYFW
 
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Follow me on www.twitter.com/thecouturetimes for the latest fashion news! Public School Spring 2016 Ready-To-Wear NYFW from Vogue.com NEW YORK, SEPTEMBER 13, 2015 by MAYA SINGER The pressure’s on for Dao-Yi Chow and Maxwell Osborne. The Public School designers unveil their debut collection for DKNY in a few days’ time, and it was reasonable to expect that the duo’s need to deliver for their new corporate masters would result in a Public School show that looked, well, distracted. Instead, Chow and Osborne’s DKNY assignment seems to have prompted them to think even harder about Public School, and how to bring the brand’s clothes a real sense of elevation. A sophisticated tone was set with the first pair of looks, two streetwise yet soigné ensembles that featured terrific, softly pleated palazzo pants. Here, at last, was the payoff for all the effort Chow and Osborne have put in the past few seasons to bring more dimension and fluidity to their women’s looks. And indeed, the highlights of this collection found them exploring dimension and fluidity with a fresh sense of fluency. Those qualities were there in spades in, for instance, a chic belted gilet of sand-toned raffia, multiple parachute-inspired coats, and the silky maxi dresses that read as a sporty take on that lean Haider Ackermann silhouette. The latter looks didn’t read as derivative. They did, however, feel grown up. Chow and Osborne said after the show that they were imagining the Public School girl gone abroad, on far-flung travels seeking to find herself. That’s a grab bag of a concept, one that invites a lot of drift, and where Chow and Osborne faltered here was in the looks that digressed from the collection’s overarching urban-nomad vibe. A tennis sweater–esque knit dress, for instance, seemed out of sync with the rest of the show; ditto the sculpted wrap skirts and button-downs with graphic contrast piping. The designers weren’t wrong to want to interrupt the parade of diaphanous looks with something a little sharper, but they did that to better effect when they introduced, say, slender ribbed tunics with tonal horizontal stripes. Those pieces expressed the signature Public School geometry, but elegantly and with understatement. If that’s what comes of turning up the pressure on Osborne and Chow—bring it on.
Views: 9894 The Couture Times
Angel Sanchez Spring 2016 Ready-To-Wear NYFW
 
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Follow me on www.twitter.com/thecouturetimes for the latest fashion news! Angel Sanchez Spring 2016 Ready-To-Wear NYFW NEW YORK, SEPTEMBER 15, 2015
Views: 13706 The Couture Times
Gucci Spring 2017 Menswear MFW
 
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Subscribe to the channel & follow www.twitter.com/leo_gamero for the latest on fashion shows and news. Gucci Spring 2017 Menswear MFW from Vogue.com MILAN, JUNE 20, 2016 by ALEXANDER FURY The notion of travel is emerging as something of a fixation for the Spring 2017 menswear season. Maybe it’s the current state of endless fashion flux, caused by the stretch of the peripatetic Resort collections. Eighteen days ago, Alessandro Michele was in London unveiling his own for Gucci in the cloisters of Westminster Abbey, traveling to Rome the next day to oversee this, his final stand-alone menswear show. “I hate to travel,” he confessed backstage. How strange for one involved in fashion, for whom travel, if not always physical, is certainly ideological, from idea to idea, aesthetic to aesthetic. The latest Gucci collection, then, was about the dream of travel rather than its actuality. “You can travel in different ways,” mused Michele. “With a book, you can travel. If I change the tapestry of my chair, I sit and I travel.” Presumably that also applies to your clothing; change into a jacket scrolled with Asiatic embroideries, with dragons or tigers or even Disney characters, and you’re dressed in a different place. Or maybe a different time. The 13th-century travelogue of Marco Polo, Il Milione, was a reference Michele threw out backstage. The veracity of Polo’s travels to Cathay and Manji, now comprising China, have been much challenged, his visions credited to the fabulosity of his imagination rather than the accuracy of his reporting. Michele can be accused of the same, which is no matter. The fabulosity of Michele’s clothes, scrambling place and time, can be seen as his own imaginary travelogue, a fantasy of the foreign, colliding cultures, mixing references, and creating a hybrid that speaks of the here and now. That’s an interesting notion. Michele emblazoned clothes with the slogan Modern Future. Which was ironic, given the retrospective slant constantly evident in his designs. He said backstage that they were words he didn’t understand. Which was ironic in another way, because for many what Michele is doing at Gucci is the future. For instance, his habit of showing menswear mixed with womenswear, and vice versa, is causing a shift that may prove to be seismic. Other designers have followed suit, folding their men’s shows into women’s. There is obviously a budgetary element, although as Gucci is on course to top 4 billion euros in revenue this year, it’s probably not as huge a consideration as you’d think. Creatively, it makes perfect sense for Michele. And probably will for other designers too, given that the other part of a Gucci show—the actual garments, that magpie trawl through eras and aesthetics—has become the defining fashion look of the moment. Imitation being the sincerest form of flattery. Talking about the overall clothing Gucci shows these days feels futile: You either devote it too little space or too much. You can’t easily summarize a coat, say, that combines the all-American embroidery of Donald Duck with a Japonism Hokusai scene, cut like a swaggering officer’s greatcoat, especially when it’s preceded by a military braided cheongsam jacket and followed by a beaded bomber atop bleached-out punk jeans. Polo, to his dying day, declared of his Asiatic travels: “I did not tell half of what I saw.” You feel the same reviewing a Gucci show amid the struggle to record the multiple textures, treatments, and ideas crammed into each presentation. And it’s nigh impossible to connect those disparate looks to one another. Michele probably doesn’t even want you to. He’s a champion of the individual, and while no man is an island, Michele’s outfits each stand alone, like fragments of a national costume from some forgotten land. This time there were at least a few sailors, too, to rig the whole thing, sporadically, together. The lush jade green of the venue, glowing, resembled vegetation, as if Michele’s men were emerging from the midst of an exotic jungle or some celadon-lined seraglio. Ultimately, it’s not about the actual garments but about that, about the image that results from the whole thing and its seductive power. Polo claimed he had witnessed world wonders that, probably, never existed, the unicorn being a good example. But his imagination was so rich and fertile, he got Europe to buy it. Michele’s doing the same. Like all great explorers, it’s guaranteed that many more will follow him. But remember, he got there first.
Views: 154378 The Couture Times
Dior Homme Fall 2016 Menswear PFW
 
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Subscribe to the channel & follow www.twitter.com/leo_gamero for the latest on fashion shows and news. Dior Homme Fall 2016 Menswear PFW from Vogue.com
Views: 4003 The Couture Times
Ashish Spring 2016 Ready-To-Wear LFW
 
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Follow me on www.twitter.com/thecouturetimes for the latest fashion news! Ashish Spring 2016 Ready-To-Wear LFW
Views: 1308 The Couture Times
Jeremy Scott Spring 2016 Ready-To-Wear NYFW
 
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Follow me on www.twitter.com/thecouturetimes for the latest fashion news! Jeremy Scott Spring 2016 Ready-To-Wear 2016 NYFW from Vogue.com NEW YORK, SEPTEMBER 14, 2015 by MAYA SINGER This is your brain. This is your brain on screens. If Jeremy Scott’s latest collection had a subtext—and it’s not clear that it did—it was that our brains are going a little screwy due to overexposure to screens. Check out the insane-looking cartoon faces on Scott’s new intarsia knits: Isn’t that kind of how your mind feels after several consecutive hours of binge-watching UnREAL while simultaneously answering emails on your laptop and glossing Instagram on your phone? Anyway. The screen thing was very much an ur-text of Scott’s latest effort, with its digital television prints and trippy sweaters knit to look the way old television screens did when they went a little wonky. That was all part of Scott’s larger theme, which was an homage to sixties era B-movies and sci-fi that he interpreted with his typical heaping of club-kid flash. The era’s tropes were rehearsed in everything from abbreviated A-line silhouettes to ray-gun prints to the paillette mesh that was an overt tip-of-the-hat to Cardin. As usual, Scott seemed to be having more fun making fashion than anyone else on the scene these days, but the lineup’s buoyant tone didn’t disguise the fact that this was a pretty disciplined collection. The men’s looks were eye-popping, but they hewed to classic shapes—guys with some daring in the fashion department might be swayed by a button down in Scott’s scribble print, or a leather biker spotted with white polka dots. Lots of the women’s looks, meanwhile, could appeal to customers outside the Jeremy cult, to wit, the tulle pieces with high-contrast sequin stripes, or summery short sheaths covered in the scribble or raygun prints. A cocktail dress, black on top, with a ribbon at the waist and a bouffant pink and silver brocade skirt, was downright homecoming queen mainstream. Scott’s rigor was also demonstrated in his materials and his technique. The paillettes on the opening look worn by Gigi Hadid, for instance, were bordered by seed pearl embroidery. And Scott’s deftness with textiles was witnessed best in the very simplest of his ensembles, a matching cropped sweater and miniskirt set down in a cool spongy knit. Nothing looked tossed-off here, in other words, just as nothing looked really, truly nuts. Scott’s experience at Moschino seems to have convinced him there’s some fun to be had, too, in selling tons of clothes.
Views: 41611 The Couture Times
Dolce & Gabbana Fall 2016 Ready-to-Wear MFW
 
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Subscribe to the channel & follow www.twitter.com/leo_gamero for the latest on fashion shows and news. Dolce & Gabbana Fall 2016 Ready-to-Wear MFW from Vogue.com MILAN, FEBRUARY 28, 2016 by SARAH MOWER Cinderella, Sleeping Beauty, Snow White: Dolce & Gabbana’s Fall show was a compendium of princess-y fairy-tale fantasies. “Today, every girl wants to be a princess,” Stefano Gabbana asserted at a preview. “Today, everything is possible for the young generation!” He and Domenico Dolce see themselves as storytellers as much as fashion designers, whose job is to divert people’s anxieties away from reality—much as, well, Walt Disney did himself. “We know how the world is today. Fashion makes people dream—this is the service fashion gives,” Gabbana concluded. So this time, rather than revisiting Sicilian history again, the designers found new roles for some of their familiar pieces. The fitted midi dress turned a tinselly pale blue for Cinderella; raw-edged houndstooth tweed coats and suits became her scullery maid “before” clothes; the black lace “widow” dresses converted ideally to wicked stepmother-wear; the formal menswear tailoring attired Prince Charming; and lots of gold-frogged and tailcoated military jackets outfitted a toy soldier army from The Nutcracker. Dolce & Gabbana have taken up a fascinating position vis-a-vis fashion in the past few years. The less they’ve paid heed to the supposed pressure to overhaul their collections with a radically different look every season and the more they’ve worked on writing chapters in their own playbook, the more successful they’ve become. And the more fun they’re having. A glance at Stefano Gabbana’s Instagram feed proves what a ridiculous, goofy sense of humor he has. It had been fully let loose on the details and accessories this time—in the glittery beaded patches on dresses and novelty sweaters showing the Seven Dwarves, toadstools, chandeliers, cats, and tailor mice, and in box bags made in the shape of castles and pumpkins. Even, in one case, on a (literal) vanity bag with a mirror scrawled with the words Who is the most beautiful? Me! Not that the show didn’t pick up the points of the season so far: It had plenty of glitter, obviously, but also registered oversize tailoring in a black jacket and velvet-collared menswear coat, and the ’30/’40s shoulder line of the Cinderella-referenced puffed sleeves. What might have seemed odd is that the designers did not send in the gowns for the finale. There ought to be gowns at the end of a Cinderella tale, surely? The answer is that Dolce & Gabbana have no need to do fantasy gowns anymore, because they make full-on ball gowns for real balls and actual princesses and heiresses in their Alta Moda Couture collection, which they showed to stupendous effect on the stage of La Scala Milan only four weekends ago. Given that perspective, the playful, lighthearted item- and accessory-packed ready-to-wear collection shown today represented a part of the smart parceling-out method Dolce & Gabbana have arrived at. The ready-to-wear can amuse all girls and women, get teenagers to lobby moms for holiday and birthday gifts, and give moms an excuse, maybe, to purchase themselves a black dress or suit. And, by the way, none of us is ever going to be confused by seeing a Dolce & Gabbana pre-collection publicized betweenwhiles. “We do things, but it’s a secret until they go straight into our stores,” said Gabbana. What was that—they’ve already got see-now-buy-now sorted out? To so many others in the fashion world, that really does sound like magic.
Views: 2706 The Couture Times
Dolce & Gabbana Spring 2017 Menswear MFW
 
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Subscribe to the channel & follow www.twitter.com/leo_gamero for the latest on fashion shows and news. Dolce & Gabbana Spring 2017 Menswear MFW from Vogue.com
Views: 45356 The Couture Times
Versace Spring 2016 Ready-To-Wear MFW
 
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Follow me on www.twitter.com/thecouturetimes for the latest fashion news! Versace Spring 2016 Ready-To-Wear MFW Versace Versace Versace! from Vogue.com MILAN, SEPTEMBER 25, 2015 by SARAH MOWER Just when you're feeling down, and a little bit battered and numbed by fashion in general, and perhaps thinking you've lost sight of the point of it all, along comes Donatella Versace to put it to rights. Before we start talking about the way her collection grabbed so many women in parts of themselves they never imagined Versace could reach—even those who like a boyish pant suit and flats—we should refer you to her soundtrack. It was not just an added-on musical theme, but the massively inclusive, confidence-generating “Transition” by Violet and friends. You'll have to listen to it, but long story short: It's a call to all women to stop listening to our inner demons and outer detractors, and just get rid of everything which stops us from doing what we really want. “It was made for International Women's Day,” said Donatella Versace, backstage. “And when I heard it, I was so sure of myself. I wanted to challenge myself, to do something strong.” Which is surely the main reason she came up with the image of combat which marched through her show—a reflection of the all-too-many wars which are raging now, maybe, but also of the resolution of her battle with herself to throw away self-imposed restraints, and just get on with making Versace relevant. Relevant? We must now move toward thinking about what that oft-repeated, never-defined, and rather terrifying word means. Perhaps “relevance” is emotionally felt in fashion when it’s clear that it’s not just for one type of very thin, very young white girl; when it also represents on behalf of color, booty, and admirable women who are just a weensy bit more experienced than eighteen. And apart from that? When it comes to design, relevance in fashion also relates to where on earth the clothes are actually supposed to be worn. Can many people find things to put on daily? Or are we all going to continue to believe in the fiction that living in today's world is one long cocktail reception? Donatella Versace addressed all that by showing a collection which never ditched the beloved character of her family's house, but concentrated mostly on varying shades of daywear, shown on an inclusive cast of characters. The opening looks, all legs, with khaki tailored jackets cinched with webbing belts over micro shorts, above vertigenous platforms, were no surprise. What came next was: The Versace house print gone wild in punchy green camouflage tailored suits with slouchy boy-cut pants, collaged into knits and sweatshirts and swinging along in the form of backpacks—all (amaze!) walking out on clogs and sporty slides. It would not be Versace without an injection of sexiness—a quality which has been so out of fashion recently that many designers appear terrified of it. This time, Donatella Versace did show some of the requisite chiffon, fluttery, spilt-to-the-thigh gowns, but the little, curvy, slashed and knotted dresses which came before them were far more interesting, shown as they were on girls striding out on what amounted to decorated clogs. It was a triumph which turned boredom into excitement and alienation into a visceral desire to shop. Whatever forces Donatella Versace was fighting to reach this new point of clarity, she won.
Views: 23707 The Couture Times
Moschino Fall 2016 Ready-to-Wear MFW
 
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Subscribe to the channel & follow www.twitter.com/leo_gamero for the latest on fashion shows and news. Moschino Fall 2016 Ready-to-Wear MFW from Vogue.com MILAN, FEBRUARY 25, 2016 by NICOLE PHELPS A history lesson from Jeremy Scott at Moschino? It happened tonight. Backstage Scott was talking about “bonfires of the vanities,” in Italian, “il falò delle vanità,” but he wasn’t referring to the Brian De Palma film or even the Tom Wolfe book. Scott was riffing on the 15th-century Dominican monks who took on the Renaissance, leading a mob through the city of Florence, burning objects of beauty—art, books, furniture, and clothing. Of course, the Renaissance prevailed, but those monks left a trail of ruin along the way. It was a great setup, one that allowed Scott to go deep with the visual puns he loves. Some evening dresses looked charred with burn marks circling ragged cutouts; others literally smoked as the models made their way around the runway, thanks to portable smoke machines. A little shimmy of the hips or a shake of the ball skirt, and fogs of vapor appeared. Brilliant! “That’s a first,” Scott announced backstage. Special props for milliner Stephen Jones’s singed net veils and the cigarette holder chapeau with glowing crystal embers. Scott also lifted Marlboro’s iconic red-and-white packaging, swapping that brand name for Moschino, and switching up the familiar health warning, “smoking kills,” for a more pointed one, “fashion kills.” From there it wasn’t a stretch to think that the small-minded, fear-driven mob who, as the program notes put it, “declared war against virtues of self-expression,” were Scott’s persistent critics. And that the biker chicks in tank tops, taffeta, and rejiggered black leather jackets and caps with the word “warriors” scrawled across them were Scott’s girl gang, ready to take up arms with the designer and fight back. As one needlepoint purse put it: “Good girls go to heaven, bad girls go everywhere.” Be warned, naysayers: They’re coming for you! By this logic—my logic, not Scott’s, by the way, he would fess up to no deeper meanings backstage—the bikers are the Renaissance chicks, and they prevail.
Views: 2302 The Couture Times
Dries Van Noten Fall 2016 Menswear PFW
 
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Subscribe to the channel & follow www.twitter.com/leo_gamero for the latest on fashion shows and news. Dries Van Noten Fall 2016 Menswear PFW from Vogue.com PARIS, JANUARY 21, 2016 by LUKE LEITCH WOWWWEEEE. Or, to put it perhaps more-measuredly in context: Some shows you can barely remember by the time you get to the next one. That’s just the pits. The majority of shows at least contain clothes and ideas (although not always both) that merit the effort to assemble some kind of sense of them—for good or ill, right or wrong. Then there are the big-house, big-production, big-budget, claquer-thronged jamborees that you know are going to drag you into their slipstream of hype, regardless of what’s on the runway. They can be great, and they can be meh, but they will always splash. Rarest of all, though, are shows such as tonight’s from Dries Van Noten, shows that you know immediately will linger in the memory years after, thanks to the gut-punch of their impact. That’s incredibly rare in fashion. So why does tonight’s rank up there? Well, the venue was a major factor—afterward Van Noten said that he had been trying to secure it for 15 years: “Every year we applied and applied and applied, and every year they said ‘No.’ But then they said ‘Yes!’ ” The invitation read the Palais Garnier, that outrageous froth of Louis-Napoléon schlock-baroque in whose foyer and gallery Stella McCartney and Pigalle have both held shows before. This time, though, we had to go around the back of the building, through a heavily screened security foyer. Instead of clacking up a marble staircase framed with putti and gold, we creaked up a rough and splintery wooden one. Ushered through a small door we were suddenly on the eccentrically tilted stage of one of the world’s greatest opera houses. Onstage. The Garnier stage is particular. It tilts forward at an angle—ballet dancers have to reconfigure their compass to master it. The sound of them landing on that stage makes it creak so much staff say it sounds like there are rats in the woodwork below. Tonight the audience flanked left and right. The main curtain rose to reveal the photographers—stage front, for a deserved change—with the yawning gold and velvet eye of the auditorium behind them. They waved and we whooped. Then the curtain rose, releasing a through-draught as the building exhaled, to reveal a phalanx of models, waiting. They came forward, circling a golden vaulted arch from Robert Carsen’s set for Strauss’s Capriccio. The show started softly, with a black wool trench delineated by a swirling curl of tricolor ribbon on the shoulder. An oversize but assiduously cut check suit, a DB jacket with that ribboning down its arm, brogue boots with Ghillie tassels, a black bomber with different colored ribboning at the waist—the buildup. Militaria advanced into the field of action: white wool shorts with some indistinct regimental regalia, worn over leggings; a black shirt molded to an olive drab skirt, back-pleated; and a great coat strafed with opaque chevrons. Then came the head-fry. Van Noten had recruited Wes Wilson, the graphic artist who drew the visual expression of the psychedelic West Coast at its ’60s/’70s apex, to reconfigure his swirling menhir-like typeface and gaunt infinity-facing characters into decoration for this collection. It sucked you in, a trip. Perhaps only this venue could ever have competed with it. The psychedelic and the regimental crashed operatically into each other. Together collection and place combined in a tinglingly deep eye-massage. Afterward Van Noten said the venue had spoken to his ongoing interrogations: “What is reality? What is the dream? Where does everything start and begin? So for me it was really good to be able to show here onstage and not in a room. It turns your world a little bit upside down.” It certainly did. What a privilege to see it.
Views: 1259 The Couture Times
Givenchy Spring 2016 Ready-To-Wear NYFW
 
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Follow me on www.twitter.com/thecouturetimes for the latest fashion news! from Vogue.com NEW YORK, SEPTEMBER 11, 2015 by SARAH MOWER As more than a thousand people traversed the rush hour–choked West Side Highway and flooded onto Pier 26—all dressed to the nines (or maybe the threes or twos, given the skimpiness of a few notable looks)—it’s fair to say that one of the very last things they were expecting was to be immersed in a contemplative experience. Yet this is what they got from Riccardo Tisci on the night he brought his Givenchy show to New York City, coinciding with the 14th anniversary of 9/11. There was no all-out gig from Rihanna and Kanye West (as had been the speculation when “performances” were mentioned), and no inaugural walk from Caitlyn Jenner, which had been optimistically rumored, given Tisci’s strong credentials as fashion’s first champion of transgender models. Instead, with the aid of his coconspirator, the artist Marina Abramovic, and the cooperation of a staggering sunset across the Hudson, Tisci made his show into a meditation on the losses of 9/11, and on slowing things down in our heads, perhaps to mourn, but also to remember how lucky we are to be alive. The audience—the seated professionals and celebrities, and the standing public—were made to wait and watch for a good hour, absorbing the spectacle of blue sky and white and pink-tinted clouds as Abramovic’s slow-moving performers, dressed in white shirts and black pants, acted out simple, strenuous, and repetitive rituals—one with a ladder, another with a tree, a third with a faucet gushing water. Stop! Abramovic seemed to be saying. Slow down and feel something! And meanwhile, in the foreground, the nonstop parade of personalities kept coming, and kept on being photographed and Instagrammed. As far as style is concerned, this was also Tisci’s opportunity to revisit and refine the ideas he’s been working through for his whole career. This year—in which a Givenchy store opens in New York City—is Riccardo Tisci’s tenth at the house, and there was a serene sense of celebration and coming of age amongst the clothes. It was a collection which spelled out and repeated almost-calligraphic black and white variations of the same sentences: Ivory slip dresses and rouleau-strapped camisoles with lace edges, worn over excellently tailored black pants cut to taper gently over pointed shoes. Supple crepe tuxedo jackets with tails, soft kimono coats, and transparent organdy trenches glimmering with jet embroidery. Many, many body-skimming sparkly silver shifts. Aficionados of Tisci’s track record in Paris would also have re-applauded the most spectacular of his couture dresses—one with a degrade feather effect, and another with leather patches applied on tulle in the shape of alligator skin—which had never before been shown on live models (as opposed to showroom dummies). And then there was the face decoration, taken to the nth degree of freakishly beautiful elaboration, in studded golden jewelry, tulle frills, and lace. That calm exposition of skill and taste, which surely grows out of nineties memories, will stay in the minds of everyone who was on Pier 26 tonight. The tragedy of 9/11 can never be overwritten by any fashion show—and nor should it be—but at the same time, anyone who condemns fashion for concerning itself with current feelings is wrong, too.
Views: 4625 The Couture Times
Iceberg Fall 2016 Menswear MFW
 
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Subscribe to the channel & follow www.twitter.com/leo_gamero for the latest on fashion shows and news. Iceberg Fall 2016 Menswear MFW From Vogue.com MILAN, JANUARY 16, 2016 by ALEXANDER FURY The guard has changed at Iceberg. Young Vienna-born, Milan-based Arthur Arbesser, freshly installed as the label’s womenswear designer, was front row (or, at least, front of the jostling crowd) at the first men’s collection by new menswear designer, Londoner James Long. Long may not speak Italian, but he’s got the visual language down pat. His debut amounted to the peppiest, poppiest Iceberg men’s presentation in years and was a fitting follow-up to Arbesser’s well-received September showing in terms of brand revival. Long spouted off plenty about roots and codes, the new descriptive vocabulary of choice of any designer working for any label, including his or her own. But really what Long did was look back at Iceberg’s start in 1974, grab the rainbow-color triangle logo its first designer, Jean-Charles de Castelbajac, came up with, and run with it. There was an easy athleticism to this collection. “Iceberg is luxury sportswear,” stated Long, wearing a silky rayon bomber emblazoned with that rainbow emblem. Bombers formed the core of the stuff sported by the models, atop techy Iceberg-branded sneakerlike scuba socks and with army surplus knit combat pants or knit track pants in between. Each piece incorporated some kind of knit, in rainbow-striped panels or ribbing. Much of it was reversible. The models wound up resembling a mid-’70s Olympic team from some obscure, outlying nation, in their bobsled-ready multicolored knits and nylon track pants. One section was patterned with Mickey Mouse scrawls, based on a hand-drawing by De Castelbajac that had been redrawn by Long. “I felt it was important it had my hand in there,” Long said. In turn, the design was refracted through the artwork of the label’s founders, Silvio and Giuliana Gerani. They’re avid Pop Art collectors, so we got a knit Mickey via Bridget Riley stripes, and another à la Andy Warhol, obviously. After a messy, overworked show under his own label in London that, unfortunately, pulled a bigger crowd than usual thanks to the Iceberg gig, Long was on best behavior. Maybe the aim was to prove that he, still a relatively unknown niche London name new to the Italian fashion establishment, was up to the job. If so, it worked.
Views: 731 The Couture Times
Anna Sui Spring 2016 Ready-To-Wear NYFW
 
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Follow me on www.twitter.com/thecouturetimes for the latest fashion news! Anna Sui Spring 2016 Ready-To-Wear NYFW from Vogue.com NEW YORK, SEPTEMBER 16, 2015 by KRISTIN ANDERSON The penultimate day of the New York show sprint and who among us isn’t in need of a visit to some far-flung, beachy locale? That’s just what Anna Sui served up tonight, albeit only a stone’s throw from the fracas of an assembled many awaiting another iconoclast (the lady Madge) over at Madison Square Garden. Prompted by a recent getaway of her own to Tahiti and Honolulu, Sui riffed on pop’s long-standing affair with island life, from the ’30s starlet Dorothy Lamour, to Elvis’s trinity of Hawaiian movies, to David Bailey’s shot of a bronzed, sun-soaked Marie Helvin. Even Jane Campion’s high-minded New Zealand period piece The Piano made the cut in the form of a little subtly placed Victoriana. Sui’s tendency toward an almost magpie-like archivist’s eye remains one of her more defining and compelling characteristics. In addition to the above references, she looked at sailors’ valentines (the intricate seashell artworks), and even lifted a phrase from the 1941 Gary Cooper vehicle Ball of Fire: “killer diller,” the choice slang of Barbara Stanwyck’s lippy nightclub performer, Sugarpuss O’Shea, came embroidered across the back of a top. Indeed, today’s Honolulu honeys embodied all the best parts of kitsch: its color, its humor, its play. Bowling shirts and souvenir jackets came to new life in Sui’s hands; the latter enjoyed a major revival last season, but even if they were downright du monde, you’d be hard-pressed to argue with Sui’s take, lushly beaded with lurid-looking sunsets and pinup mermaids. Elsewhere was a dreamy marabou-trimmed peignoir that seemed to have dropped straight out of a Bunny Yeager snap and onto the palm tree–dotted catwalk. It all made for a deliciously heightened version of the tourist tat of another era. And what of the prints? Sui enlisted the fabled Zandra Rhodes to create a custom pattern, a delightful seashell number (Gigi Hadid very memorably donned a scarlet sarong in it). One Lurex-drenched, undersea chiffon—with angel fishes and all—was a real winner. Sui also sent out an octopus intarsia, and board shorts crafted from a heady-looking butterfly lace. Even as fashion continues to ride high on a wave of heavy minimalism (though a sea change is surely in the works), Sui is a designer who serves as a vivid testimony to the power of well-deployed profusion. Today’s was the kind of blissful, high-energy romp to assist even the most fatigued among us—socks and sandals optional.
Views: 1980 The Couture Times
Alexander McQueen Fall 2016 Ready-to-Wear LFW
 
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Subscribe to the channel & follow www.twitter.com/leo_gamero for the latest on fashion shows and news. Alexander McQueen Fall 2016 Ready-to-Wear LFW from Vogue.com LONDON, FEBRUARY 21, 2016 by SARAH MOWER Sarah Burton is about to have her third baby in two weeks’ time, but before going off on maternity leave tonight, she delivered the most beautiful, sensitive, and breathtakingly crafted Alexander McQueen collection, at home in London. Almost literally, it was spun out of dreams. What she started in her hugely well-received pre-collection—research that took her to Schiaparelli-like surrealist prints and cobweb-fine knits—came into full poetic bloom here, at a level every bit as elevated as haute couture. She described her woman as: “Almost sleepwalking, in a state where reality and dreams become blurred.” Toward the end, this imagined character had become an almost incorporeal sylph, like a vision from an Erté drawing, trailing a silver-sprinkled cloak embroidered with stardust and the phases of the moon. But the collection had substance too. It started with black coats, variously jacquarded with pocket watches, eyes, and butterflies, or sculpted from fine leather and then hand-painted with flowers by a specialist floral artist. Tailoring was always one of McQueen’s power bases, and the mannish Savile Row exactitude of the double-lapel suits honored that fully but in a modern, feminine, unconstricting way. As the sequence went on, the clothes began their progress into the bedroom: There were lacy bras and sleeves cut to fall off shoulders. Then came the knit dresses, which cascaded in gossamer layers as delicate as lace. And finally, we were in the place of dreams. The bodices of black tulle dresses were set with jeweled stars, each one a masterpiece. And so to bed, wrapped in satin duvet jackets, and a final superb shell-pink eiderdown coat, lined with marabou. “That one started life as an antique piece we found on Portobello market,” Burton laughed. The tenderness and the technical expertise she mustered for this collection was a triumph, taking hundreds of hours of skilled labor by dozens of specialists in London and Italy. Burton can now go off and sleep easy in the knowledge that her own vision for McQueen is fully realized and applauded to the skies. The more she has relaxed into the confidence of her feminine instincts, the better she’s become. It was fitting that the venue she chose was the same one in which she assisted Lee McQueen at a show 20 years ago. In a way, it was a homecoming—and, really, why shouldn’t it stay that way? This is the place Alexander McQueen belongs. It would be a dream come true for London if this show continued to cast its spell in the city of its origin.
Views: 1046 The Couture Times
Alexis Mabille Spring 2016 Couture PFW
 
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Subscribe to the channel & follow www.twitter.com/leo_gamero for the latest on fashion shows and news. Alexis Mabille Spring 2016 Couture PFW from Vogue.com PARIS, JANUARY 25, 2016 by AMY VERNER Picking up where his last couture collection left off, Alexis Mabille enlisted an inner circle of friends, actresses, and veteran models to add a personal facet to his predictably glam designs. Unlike the previous season’s tableau vivant, this lineup played out as a défilé through a series of gilded salons, where a stilted rhythm weakened Mabille’s good intentions. Production glitches aside, his diversity of looks corresponded to the diversity of his muses, such that Carmen Kass opened the show in an Old Hollywood white crepe tuxedo dress swelling with ostrich feathers, followed by Audrey Marnay in a coquettish embroidered lace LBD. Compare and contrast the puffed ombré “summer fur” (pleated, frayed organza and feathers) top and slim pants worn by Debra Shaw with Luping Wong’s lingerie-inspired gown in Chantilly lace with jet beading, and you sensed how Mabille might even consider his creations like character studies. Yet this remained a collection designed by, not designed for. Mabille’s overwhelmingly sheer dresses favor male fetish to female confidence; which is to say, they weren’t likely personal requests. Alternatively, his tailored crepe gowns—Look 7’s classic bustier style or Look 10’s Spencer-inspired jacket top with split sleeves—reassured that he’s not out of touch with a more relevant sensibility. As for the collection’s title, Timeless Beauties, Mabille’s finishing touches can often feel slightly behind the times—or perhaps the prevailing tastes. But there’s no arguing that the gown with a lattice of crystal embroidery carries the same allure today as it would have 10 years ago—and that a barely there Chantilly lace dress will register as sexy in a decade as it does right now.
Views: 643 The Couture Times
Givenchy Fall 2016 Menswear PFW
 
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Subscribe to the channel & follow www.twitter.com/leo_gamero for the latest on fashion shows and news. Givenchy Fall 2016 Menswear PFW PARIS, JANUARY 22, 2016 by ALEXANDER FURY In a saturated, fondant-pink cube like a hollowed-out hunk of marzipan, lit with fluorescent tubes like a Dan Flavin sculpture, Riccardo Tisci showed his latest Givenchy collection. Oddly, given the confined space and intense light, the theme was freedom. Tisci enjoys tackling big themes and abstract notions such as freedom or love or the dark obsessions of the soul. Translating those kinds of ideas into cloth is tricky. Nevertheless, in the end, he’s a fashion designer: It’s his job. The other problem with trying to wrestle those kinds of proto-philosophical musings into a bomber jacket is that it can all come off a bit glib. Where was the freedom, really, in Tisci’s Fall 2016 offering? The palette was controlled, the decoration precise. For Tisci, it was sort of plain. There were snakes on his plain—a new Givenchy house motto reared its head; it was a cobra. Maybe it had escaped its cage? It appeared half a dozen times as intarsias, prints, and odd cutout bomber jackets that looked a bit lumpy, as if said cobra had swallowed something oddly shaped. Freedom brings us, of course, to the land of the free: the U.S. of A., a land Tisci has been enamored with for years, even upping sticks to show his 10th anniversary collection there in September. Tisci’s interpretation this time round was actually America via Africa—Botswana, specifically, where renegade street gangs dress up in leather-heavy Marlboro Man drag in the kind of odd collision of cultures the designer adores. He felt free to throw in Berlin club kids and Moroccan colors for good measure, balancing his men atop a pointed-toe, Cuban-heeled cowboy boot. The cowboys got rhinestoned, with crystals and gleaming copper rivets the size of a dime and the color of a newly minted penny pocking the surfaces of coats, the groin of trousers, the plackets of denim jackets. You name it, it was riveted. As a critic, you didn’t see snakes, or screaming faces, or a crucified figure with Givenchy scrawled above. You saw pounds, dollars, yen, yuan—and maybe Botswana’s pula, although it’s unlikely Givenchy has a store out there yet. In other words, business as usual. Riccardo Tisci is one of the most successful menswear designers in Paris. You see echoes of his signatures—namely, the giant prints frequently layered over other giant prints, everything engineered to match perfectly—in multiple collections. You also see them on the backs of multiple men, who throng Givenchy boutiques and pick over eBay in fervent search for more of the same. They’ll have a field day when this collection hits stores. In that respect, Tisci played to his strengths—his strength being commercial, this time at the expense of the creative. This collection was heavy on the metal, but light on new ideas, restating rather than innovating. Which is okay—every designer deserves a season fallow, pulling back in order to push forward. Tisci’s done plenty of pushing—he should feel free to rest on his laurels for a season or two. However, Paris menswear is throbbing with energy for Fall. Tisci’s timing was off.
Views: 3712 The Couture Times
Canali Fall 2016 Menswear MFW
 
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Subscribe to the channel & follow www.twitter.com/leo_gamero for the latest on fashion shows and news. Gucci Fall 2016 Menswear MFW from Vogue.com MILAN, JANUARY 18, 2016 by LUKE LEITCH Presidents Obama and Putin both wear Canali—but not quite like this. Under the creative direction of Andrea Pompilio, Canali continues to use the language of fashion as a gentle exploration of the boundaries of the sartorial. This afternoon’s collection was dominated by suiting in check double-faced gabardine presented in various combinations of green, blue, and eggplant. From afar—this was a long runway—the pieces looked to be in block color, then up close the square pixelations delineated themselves upon the eye. Three-button jackets were sometimes fly fronted for only the bottom two attachments, meaning the top two buttons could be fastened—as is customary—with the illusion of engaging only one. On quite tight pants that sometimes hugged the thigh a little intimately, belt loops either extended over the left quad above a flapped flat pocket, or tubed entirely around the waist to leave room only for the no-profile popper belt buckles. The effect of this was to smooth the silhouette at the midriff, and move the emphasis down to meatily buckled monk straps. Similarly buckled were elephant-wrinkly soft suit carriers and cutely dimpled black napa portfolios. A ponyskin greatcoat looked black from a distance. On approach, it declared itself as midnight blue with double-faced black napa only at the collar and trim. There was a cuddly beast of an alpaca overcoat. Against the suiting, any flash of brightness in this dark collection came at the neck: contra-color collars in ocher, mustard, and bottle green surrounded narrow scarves corralled via unruly knots into ties. There was some pop in the fitted knitwear, too. Backstage Elisabetta Canali said: “There is a lot to see in this collection, but there is a lot more behind it that is invisible, too.” Canali might not be the shoutiest sartorial brand on Milan’s schedule, but what it says is expressed with care, seriousness, and focus.
Views: 1045 The Couture Times
Moschino Spring 2016 Ready-To-Wear MFW
 
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Follow me on www.twitter.com/thecouturetimes for the latest fashion news! Moschino Spring 2016 Ready-To-Wear MFW from Vogue.com MILAN, SEPTEMBER 24, 2015 by NICOLE PHELPS Nobody, but nobody is having more fun than Jeremy Scott at Moschino. Season by season, the ideas get zanier, but the productions just keep getting bigger. And why not, when his clothes and accessories are selling so well? True to silly form, tonight’s theme was car-wash couture. Traffic cones, barricades, and a genuine car wash that sprayed bubbles instead of water were installed on the runway. “No Parking, Couture Zone,” one sign read; another: “Dangerous Couture Ahead.” Also true to form, this was not a show about subtext. But if it was all out there on the waxed and polished surface, that doesn’t mean it wasn’t smart. Take the full-skirted trench coat with a warning sign on the back—“Open Trench,” it read—or the little black dress with the iconic red octagon on the chest printed “Shop,” not “Stop.” In a he-thinks-of-everything moment, Scott had none other than Lapo Elkann, international playboy and heir to the Fiat automobile fortune, in the front row. The accessories served up one visual pun after another. None other than Stephen Jones, milliner to fashion royals and royal royals, did the veiled hard hats and traffic cone chapeaux. There were toolbox and lunch-box bags, tail-fin sunglasses, and caution-tape sandals. As for the clothes, they were the tony uptown answer to last season’s below-14th-Street streetwear. Chanel-style skirt suits came in flashy neons with flashier reflective-tape edging; others had Cristóbal Balenciaga–worthy volumes. Scott played fast and loose with Chanel-isms, most literally and perhaps dangerously with a print of interlocking C clamps. A pair of petticoated satin party dresses with taillights lifted off a ’57 Chevy looked like a subtler (if you can call it that) reference to Thierry Mugler’s iconic corset. An extended evening section that riffed on the rotating brushes of drive-through car washes was capped off by a long column dress with a neon sign slung over one shoulder. Scott’s got fans just crazy enough to take it for a spin IRL.
Views: 2190 The Couture Times
Alexander Wang Spring 2016 Ready-To-Wear NYFW (10th Anniversary Runway Show)
 
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Follow me on www.twitter.com/thecouturetimes for the latest fashion news! Alexander Wang Spring 2016 NYFW (10th Anniversary Runway Show) from Vogue.com NEW YORK, SEPTEMBER 12, 2015 by NICOLE PHELPS Alexander Wang has always loved a bash, and for his 10th anniversary collection tonight he threw himself a big one. Up front, a merch table sold his DoSomething.org tees and sweats, which benefit the organization’s youth and social change efforts. It was straight out of a rock show, a feeling that was accentuated inside the venue by the crush of celebrities who sat in the front row. Kanye West, Nicki Minaj, Lady Gaga, Josh Ostrovsky (a.k.a. “The Fat Jew”), The Weeknd, Bella Hadid, Mary J. Blige . . . the list goes on. Post-show, a curtain at the back of the runway opened to reveal a phalanx of pole dancers, who entertained the throngs until it was time for the party’s big numbers. Tinashe, Lil Wayne, and Ludacris all performed. But the night’s main act was the video that played after the models took their finale spin. An extended highlights reel, it was a long, loud, chronological look back at Wang’s first decade, from his early bows, short-haired and baby-faced at 21, all the way through last November’s H&M collab and his Fall ’15 advertising campaign. It’s a critical moment for Wang. In July, he and Balenciaga opted not to renew their contract beyond its first three-year term. Such a short tenure at such a prestigious house could tarnish a designer’s reputation, but Wang has emerged essentially unscathed and, as he seemed to be saying with tonight’s hoopla, bigger than ever. When the split was announced, Wang suggested that he wanted to turn his focus to his eponymous brand. That meant expectations were elevated for this new collection. If some of the surrounding festivities (ahem, those pole dancers) were somewhat off-message, he nailed the collection, which was free of pretense. “No concept,” he said backstage, summing up the straight-off-the-streets ethos of the clothes. “We’re always asking ourselves what’s modern. Well, what’s modern is what’s right in front of us.” That’s an idea that’s gained traction in the industry over the last couple of years, but it was Wang’s own approach at the beginning. It worked for him then, and, save for a couple of costumey fringed leather pieces, it worked for him tonight with his deconstructed denim, army surplus separates, pajama silks, slip dresses, and one shrunken satin bomber jacket. Wang intuitively gets what the downtown cool girl wants to wear. There’s no disputing the New Yorkiness of his clothes, but no anniversary collection is complete without a throwback moment. Anybody still wondering what the AW510 insignia that turned up on an oversize hoodie and some of the men’s pieces stands for? Wang, remember, hails from Northern California: 510 is the born-in-the-Bay-Area area code of his cellphone.
Views: 3701 The Couture Times
Ports 1961 Spring 2017 Menswear MFW
 
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Subscribe to the channel & follow www.twitter.com/leo_gamero for the latest on fashion shows and news. Ports 1961 Spring 2017 Menswear MFW
Views: 607 The Couture Times
Prabal Gurung Spring 2016 Ready-To-Wear NYFW
 
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Follow me on www.twitter.com/thecouturetimes for the latest fashion news! Prabal Gurung Spring 2016 Ready-To-Wear NYFW NEW YORK, SEPTEMBER 13, 2015.
Views: 2945 The Couture Times
Y-3  Fall 2016 Menswear PFW
 
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Subscribe to the channel & follow www.twitter.com/leo_gamero for the latest on fashion shows and news. Y-3 Fall 2016 Menswear PFW from Vogue.com PARIS, JANUARY 24, 2016 by LUKE LEITCH The three-way private-sector Space Race being fought out between Elon Musk, Jeff Bezos, and Richard Branson red flags a near future, say a half-century or so away, of helter-skelter change. As the manifold reasons for which we get dressed are also upgraded—why go to the mall when Amazon can deliver everything you desire, then take you into orbit instead?—it’s fun to make creative postulations about what the Wardrobe of the Future will be. In interviews, Yohji Yamamoto is a perspicacious trout—he declines to be hooked upon an obvious question. Eventually, though, he conceded: “This collection is very close to a space journey.” Liftoff! The opening black movement was a combination of the athletic, the monastic, and the decorative. In front of an endless dot-matrix doorway, gently prettified street sportswear—bias-cut sweat jackets plus coats and smocks given gather and drape by just-for-that zippers—made first contact with the photographer. There were some fun speculative utilitarian pieces: They say the human reliability on smartphones might trigger the evolution of extra fingers to operate them, so who’s to say we won’t reconfigure even more profoundly? A woman’s hoodie had a third sleeve hanging loose and—as yet—uncalled upon, behind the left shoulder. The fabric was synthetic, matte, and stiff: But then there was a throwback to planet organic. An oversize woolen duffle and poncho came gridded by panels of what looked like black leather. A black leather shirt, worn in reverse, flashed its patina of crinkle. You could see weft and irregularity in a black-gray mélange coat that seemed wool but might have been anything, really. At the end, some shine-slicked semi-sheer green outerwear accented against a pattern of midnight headlight reflections—smudges of white, red, and green on a black background—added depth to the monotone. Bungeed gaiters teamed with a brown crinkle-dyed cape with a built-in hoodie and visor seemed a versatile look, fit for nightclub mash-up and chemical cleanup alike. Would Yamamoto like to go into space? No: “I don’t like it. You can’t smoke.” Good on him.
Views: 1146 The Couture Times
Dries Van Noten Spring 2017 Menswear PFW
 
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Subscribe to the channel & follow www.twitter.com/leo_gamero for the latest on fashion shows and news. Dries Van Noten Spring 2017 Menswear PFW from Vogue.com PARIS, JUNE 23, 2016 by LUKE LEITCH After last menswear season’s ecstatic explosion of time and place at the Palais Garnier opera house—for which this critic totally dropped his shopping—it was surely nearly impossible for Dries Van Noten to up the impactful ante. And he didn’t. Because how could he? That was a thing never to be repeated. But that’s not to say that this wasn’t gold or at the very least silver on the podium of most entrancingly beguiling collections of the season so far. Because it was. Just look at the pictures. Dries Van Noten is one of the very few designers who defies the giddy winsomeness of this business to churn out collections which, again and again, make you feel like you are reading poetry which you are slightly too ill-educated to understand, yet with which you connect and feel the propensity to emotionally travel. Luckily for this yahoo, the mild-mannered maestro himself was in particularly disposing mien post-show, and provided guidance. He said: “For me I wanted to do a new take on Arts and Crafts. When you think about Kelmscott Manor and Rossetti and Burne-Jones, they came together—making craft also art. And for me it was also like a challenge to find a new way of embellishment. All those palettes and embroideries that we used in the past I didn’t want to use, so I tried to find new elements in volumes, in shapes, and in putting fabrics together. So I looked a lot at fabric art, to textile artists who were very active in the ’60s and ’70s and in whom there is now a new interest.” The handmade sweaters strafed with the explicitly analogue skeins of their creation were central here. Silk print jackets were drawn from late-Enlightenment-era naif botanicals. We shifted from there future-wards through the reverential 19th century and into the mass industrial 20th via subverted camouflage. The quiet rebellion of the closing looks, when all-blue replaced patterned chaos was a dressed-down reminder of this designer’s way with silhouette and cut. Look at the jeans-on-deans print joke on that denim: This was one of the few collections where one felt eternal writing would lead to the same ultimate conclusion: Yes please, Dries.
Views: 1157 The Couture Times
Tom Ford Spring 2016 Ready-To-Wear Music Video
 
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Follow me on www.twitter.com/leo_gamero for the latest fashion news! Tom Ford Spring 2016 Ready-To-Wear Music Video from showstudio.com ABOUT Not content with the traditional fashion show set up and intrigued by the possibilities offered by the web for displaying fashion, the ever forward-thinking Tom Ford tapped Nick Knight to direct a fashion film featuring his S/S 16 collection. Released in conjunction with Paris Fashion Week, the video features Lady Gaga alongside models Mica Arga, Lexi Bolling, Kayla Scott, Xiao Wen Ju, Valery Kaufman, Aymeline Valade, Lida Fox, Lucky Blue Smith, Alex Dunstan, David Agbodji and Tarun Nijjer. Ford says, ‘Instead of having a traditional show this season, I decided to try something new. Having a runway show has become so much about the creation of imagery for online and social media and watching a filmed fashion show can be like watching a filmed play [which is never very satisfying]. I wanted to think about how to present a collection in a cinematic way that was designed from its inception to be presented online. I have always loved Soul Train which used to be on TV in the seventies; as it was as much about the clothes as the music. I asked Nile Rodgers to collaborate on a new version of one of his great hits from that time, I Want Your Love, and worked with Gaga to record the vocals. Gaga and Nile are both brilliant artists and the resulting collaboration between the two of them is, I think, very powerful. I then staged a full show in Los Angeles and filmed it with Gaga on the runway, Nick Knight directing and Benoit Delhomme as our director of photography. We pulled frames from the video that will be used for our look book, photographed the ad campaigns, and shot the beauty images all at the same time. It was a great deal of fun to do and I think that the video captures the spirit of the collection in a way that a filmed traditional show would not have.’ CREDITS / CONTRIBUTORS Tom Ford FASHION DESIGNER Nick Knight FILM DIRECTOR Lady Gaga PERFORMER
Views: 1578 The Couture Times
Vetements Fall 2016 Ready-to-Wear PFW
 
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Subscribe to the channel & follow www.twitter.com/leo_gamero for the latest on fashion shows and news. Vetements Fall 2016 Ready-to-Wear PFW from Vogue.com PARIS, MARCH 3, 2016 by SARAH MOWER No doubt about it: The flagging spirits of Paris fashion have had a shot in the arm since the Vetements collective, led by Demna Gvasalia, came on the scene. Their channeling and upgrading of everyday street style into high style has exerted a massive influence as designers and brands both established and even younger have found it impossible to resist the gravitational pull of Vetements’s outsize tailoring, printed dresses, and thigh-high boots. The feeling that a young, outsider energy is rushing into the spiritual vacuum which currently exists at the center of the establishment is healthy, exciting, and perfectly timed. And here they all were, the band of friends and girls and boys cast from Instagram, led out by Lotta Volkova, the Russian stylist, den mother, and agitator of the crew, who was wearing an almost obscenely short brown childlike dress with pinched-in shoulders and a lace collar, and holding a bunch of yellow flowers. They were storming along the aisles of a church, the gothic American Cathedral right in the heart of the establishment Avenue Georges V. Why a church? “I was in such a dark place while we were doing this,” said Gvasalia. “First we showed in a nightclub, then a restaurant—so I thought, ‘Let’s do it in a church this time.’ ” What Gvasalia omitted to spell out was that the terrorist attacks, whose victims were mostly young people, took place in Paris last November, when he was designing both this collection and the first he will show for Balenciaga this week. So the symbolism of the venue felt at least double-edged—charged with a contradictorily joyful kind of nihilism, a sense of a youthful life force on the move, which, for all its obscene T-shirt slogans, didn’t feel entirely sacriligious. There but for the grace of God? This group, at least, are running with every opportunity they have created to shake up the center of fashion and insist on placing their inclusive values within it. They also smartly dealt out new silhouettes—abbreviated school uniforms with school-tie chokers, shrunken shoulder lines as well as even more gigantic, boxier ones than before. Fast and furious came the ideas: hoodies and sweatshirt-maxis printed with the words Sexual Fantasies; oversize men’s pin-striped shirts, velvet pant suits, legs in a dozen variations on thigh boots—one of them painted like tattoos—or clad in long, sexy white socks beneath miniscule skirts. Still, what was noticeable in this mix was that, rather than just being subversive for the sake of the gestural politics, Vetements means business. Its hoodies have a cult appeal in one direction, but for the fashion congregation there is also so much to believe in here: not just the wearable, desirable printed blouses and dresses, but also the hope that this is the beginning of a new chapter in the life of Paris fashion.
Views: 1409 The Couture Times
No. 21 Fall 2016 Menswear MFW
 
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Subscribe to the channel & follow www.twitter.com/leo_gamero for the latest on fashion shows and news. No. 21 Fall 2016 Menswear MFW From Vogue.com MILAN, JANUARY 17, 2016 by TIZIANA CARDINI Genderless style has become an all-the-rage trend; almost every designer, from the high to the low, has already tapped into it. For Fall, Alessandro Dell’Acqua offered his personal interpretation, filtered through the lens of his own smart sensibility. His vision is of a masculinity slightly tinged in pink—nothing too radical or cutting-edge. But nothing too predictable either. “I wanted to express a kinder, gentler masculine side,” the designer said backstage. He proceeded to mix some of his style’s signature feminine elements—a touch of macramé lace, a glimpse of brilliance, the animalier prints, the wrinkled textures, a palette of nude colors—with some military and sporty references. The use of chiffon, lace, crepe de chine, and soft bouclé wool made the message even more clear, layering a hint of sensual undertone. It all blended with a sense of ease, achieving balanced results. To further invigorate the masculine-feminine dialogue, a few looks from No. 21’s women’s pre-collection were introduced as proof of a versatile, across-the-board proposal. This trend has been embraced by quite a few other brands. Will it translate into a more sustainable formula for the fashion system, one that is in dire need of some serious rethought? It remains to be seen, but let’s enjoy the dream of a (hopefully) better future.
Views: 551 The Couture Times
Prada Fall 2016 Menswear MFW
 
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Currently, affairs are tumultuous, to say the least. International markets stumble; European borders slam closed; turmoil bubbles. It’s foolish to think fashion exists in an isolated cocoon, or an ivory tower, ignoring the world outside its rarefied sphere. At base, it’s foolish because these things—economic sanctions, falling stock, stymied global movement—affect the buying patterns of even the world’s richest. No one is wealthy enough to be insulated from the rest of humanity. On another level, an intelligent, intuitive fashion designer naturally seeks to make work that represents the time in which they live, and contributes to a wider cultural landscape. They’re part of the conversation of their times. What touches more people than the clothing on their backs? That’s how Miuccia Prada operates. For one of the most willful, singularly talented, and individualistic designers working in fashion today, her output is marked not by her own whims but by a curiosity about other people, about the world she lives and works in. “That is what is really interesting,” says she. “What people relate to, what fascinates them, how the fusion of fashion and culture makes people react.” Miuccia Prada’s clothing is interesting because, at the end, she is interested in life, in her times, and in representing that through clothing. Prada staged her Fall 2016 show in a complex, multilevel set designed to evoke, she said, “a square for ceremony—a gathering of the rich, the poor.” The ceremony she referenced was the “auto-da-fé,” the Spanish Inquisition’s public sentencing of heretics. It’s tempting to compare that to a designer’s experience of showing their work to critical masses, but Mrs. Prada had bigger fish to fry and larger concepts to engage with. “Immigration, famine, assassination, pessimism,” were words she threw out backstage, terms you seldom hear uttered in association with luxury clothing. Then, she grinned. “But I’m not a pessimist!” She is, however, plugged in to the troubled times around her, and she allows them to influence her clothes. It’s how she elevates them above the masses of garments created by other designers, and ensures they say something significant and distinctive. For Fall, said clothes were torn, bedraggled, wrenched away from the body in a state of disarray, a visual representation of the uncertainty of the contemporary. Today is what interests Mrs. Prada, despite her frequent references to the past. (The latter were plentiful, in worn and aged fabrics, creased and mis-buttoned cotton shirting, battered canvas twill, knits fraying to yarn.) “It’s an excursion through history,” said Prada, surrounded by a set that collided classical colonnades with Ikea-y plywood, “connecting what’s happening now with what happened in history—to see if there’s anything we can learn.” Excursion. That accounted for the flyaway aspect, clothing barely clinging to the models’ bodies, as if garments were literally shipwrecked around their torsos. Abstracted components—button-off collars, lapels and hoods anchored with flimsy drawstrings like sou’westers—evoked a sense of dynamism. And there were sailor hats. We were voyaging somewhere deep. Mrs. Prada employed the services of artist Christophe Chemin, a creative polymath who draws, directs, has authored four novels, and yet somehow found time to devise prints for Prada’s show. She compared those to maps, to underline the voyaging theme; Chemin himself allies his work to fashion, saying he “sews” together his ideas. It was like a creative exchange program, much like Mrs. Prada’s relationship between the then and there, and the here and now. “If you look at the past and today, you recognize many different similarities,” she said, allowing that the show was mixed to “try and feel ‘now.’ ” Right now, let’s talk about the clothes: multilayered, multi-textured, at the core great outerwear, narrow suiting, good shoes, flood-length pants cut slightly wider in the leg, sailor-collar sweaters, cross-body knapsacks. They were pragmatic yet enigmatically attractive garments that will incite desire and excite consumers. But that feels a bit like talking about paint composition and canvas weave, rather than the picture someone important is trying to paint. What was Miuccia Prada trying to say about men today and the world in which we live? Thinking back to that notion of immigration, and to the vulnerability of last season’s Prada boys, there was a notion this time of Prada’s males being survivors, living through adversity and emerging, if not unscathed, then battered but intact. 2015 was a hell of a year—for fashion, and the world in general, bookended with terrorist attacks in France, and with war erupting in-between. Living life means we bear the traces of its passage across us, and our passage through it.
Views: 1767 The Couture Times
Hood by Air Fall 2016 Ready-to-Wear NYFW
 
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Subscribe to the channel & follow www.twitter.com/leo_gamero for the latest on fashion shows and news. Hood by Air Fall 2016 Ready-to-Wear NYFW from Vogue.com NEW YORK, FEBRUARY 14, 2016 by CHIOMA NNADI In a relatively short space of time, Shayne Oliver has moved his brand Hood By Air from the fringes and into the center of the fashion conversation. It’s thanks to brands like HBA that hot-button issues around gender and race are on the runway agenda at all. A remix of Beyoncé’s “Formation"—arguably the most talked-about song of the moment—came blaring through the speakers before the first model came out in patent leather killer heels, the sleeve of her coat trailing behind her like a cape. Oliver has been subverting notions of streetwear since the beginning, and this season he turned familiar tropes upside down with renewed audacity; one zip-up jacket came with black duffel bags for sleeves, and North Face’s ubiquitous puffer was given a makeover in sleek patent leather and held aloft like an oversize life jacket by Slava Mogutin, the radical Russian LGBT artist who walked in the show. Oliver titled his collection “Pilgrimage” and cited the idea of transience and transmigration as overarching themes. Aside from killer stiletto heels, models both male and female wore rubber waders that seemed fit for a flood of apocalyptic proportions; barcoded baggage tags were laced into sneakers, and shiny black bustiers were fashioned from the plastic used to wrap baggage at the airport, a look that rendered the body itself as cargo. Set those ideas to the soundtrack of Beyoncé, who sings of Louisiana’s tumultuous past in her new single, then factor in the current refugee crisis in Europe, and it was hard to ignore the politics beneath the surface here. Whatever the subtext, it’s important to remember the journey that Oliver has made as a designer. After winning the LVMH Special Prize little over a year ago he moved his operation to Milan, and the new clothes reflect the strides he’s made: There’s a confidence that runs through, from the mind-boggling technical complexities of the outwear to the cheeky slogan bodysuits to the streetwise buckets hats that were produced in collaboration with Kangol—pieces that are, incidentally, available to buy now. Yes, the fashion system might be broken, but clearly that's not stopping Oliver and his instinct for what’s next.
Views: 829 The Couture Times
Chanel Resort 2017 in Cuba
 
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Subscribe to the channel & follow www.twitter.com/leo_gamero for the latest on fashion shows and news. Chanel Resort 2017 in Cuba from Vogue.com HAVANA, MAY 4, 2016 by SARAH MOWER The American fashion press who flew into Cuba for the Chanel Resort show landed two hours before the first U.S. cruise ship to have docked in Havana in nearly 40 years. The passengers of the Adonia had no idea what to expect when they set foot on the dock; in the event, they were surrounded by crowds of Havana residents, high-fiving greetings. The historic thawing of relations between the Castro regime and the United States is palpable this week in Cuba, a warmth that was stoked to fever level last night. Seven hundred guests of Chanel were taken to the open-air street show in a multicolored convoy of the city’s open-top Buicks, Cadillacs, and Oldsmobiles. The owners tooted their horns through the streets of Old Havana, while people came out to line the streets, crowd dilapidated balconies and rooftops, wave and laugh. It could easily have gone the other way—who knew there could be such a welcome in a poor, communist country for a super-luxurious brand and the wealthy women who wear its finery? But it was the people of Cuba who set the atmosphere running—a sense of exuberant excitement that involved everyone from the models to the normally impassively unimpressible members of the press. It was Chanel that started the new lark of traveling Resort shows—immersive summertime trips to evermore far-flung locations—and Dior, Louis Vuitton, and Gucci have been joining in. Occasionally, it has to be said that descriptions of spectacular locations can overshadow collections that aren’t so worth writing home about. But with this show, Karl Lagerfeld achieved it all: a spectacular locale at a historic turning point in international relations, and a collection that was relatable, wearable, exquisitely made, and joyfully youthful. Trust Karl to find the symbol of French-Cuban entente cordiale in a piece of clothing. That would be the beret in this case—ultra-French in origin, but also inescapably Che Guevara. There were sparkly black versions scattered throughout, as well as panamas with Chanel camellias tucked into the hatbands. Even better, as a diplomatic coup: the living embodiment of French-Cuban talent represented by Ibeyi, the twin sisters Lisa-Kaindé and Naomi Díaz, who performed at the beginning of the show, hot on the heels of their appearance in Beyoncé’s Lemonade. No one knows how to be on-point topical better than Karl Lagerfeld, but this show rose above belaboring themes. With guests sitting on park benches in the open air of the tree-lined Paseo del Prado, the models strolled naturally in flat brogues, flip-flops, and slides. Here was Chanel at full range—black spencer jackets over wide-legged cuffed pants; “debutante” dresses with swirly skirts hitting calf length in lace or organza; skinny long tube dresses in macramé or tattered tweed; huge floaty dresses, neatly belted, in ’50s car prints. The Chanel embroiderers had pulled out all the stops, decorating sleeves with dense layers of tattered fabric (a subtle homage to Hispanic ruffles, surely) and sequin-encrusting little dresses in the peachy-pinks, lemony-oranges, and greeny-blues you see in every direction in the intensely beautiful cityscape of Havana. It would have played wrongly if it had looked too posh and distant, or then again, trying too hard to be referential. What made it work, in essence, was the easy styling, with T-shirts and flats, a casual attitude that the models clearly felt happy in—so happy that the end of the show broke out into an anarchic kind of carnival where the girls and the audience and the local band all got mixed up together, dancing.
Views: 11948 The Couture Times
Saint Laurent Spring 2016 Ready-To-Wear PFW
 
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Follow me on www.twitter.com/leo_gamero for the latest fashion news! Saint Laurent Spring 2016 Ready-To-Wear PFW PARIS, OCTOBER 5, 2015 by SARAH MOWER Commercially, Hedi Slimane has no more to prove with what he’s set out to do at Saint Laurent. In a word: selling. His thorough refurb, from advertising to video, to music connections to multiple lines of product, has turned Saint Laurent into a power brand. More than that, the success of his breaking down the house and rendering it into accessible, uncomplicated items has set off a chain reaction at the top of the designer fashion industry. Heads have been rolling and new ones put in place all over Milan, New York, and Paris as corporations scramble to cast talents they pray will be able to replicate Slimane’s magic touch with multiproduct marketing. With Alessandro Michele’s appointment at Gucci, the process has been working at speed, but in some other places there are bandwagons still stuck in the garage. Not everyone can package up a look and whack it to the public in such a first-degree, widely understandable, and Zeitgeist-savvy way as Slimane. For Spring, one glance at the lowbrow tiaras, the sparkly see-through mini-mesh dresses, the rock-chick leather jackets, and the skinny legs of the models shoved into Wellington boots told us where he was going. To Glastonbury with Courtney and Kate it was, with an entourage of throwback shaggy-headed waifs and a caravan-load of ready-made vintage-y stuff. Slimane was smart to suggest he was pitching it in a more down-to-earth way this season. There is a movement toward real, ordinary clothes going on, largely triggered by the left-of-field rise of the Vetements collective, which ingeniously repurposes generic garments. Slimane seemed to have tuned into that when he came up with a perfectly ordinary beige trenchcoat, sand-color camisole, jeans and black Wellingtons, a faded army-surplus shirt, patchworked denim capes, and leather bomber jackets that looked as if they could have been trawled from racks at the cheap end of Portobello Market. Say what you like about whether this is actually “design,” there is a skill in making a familiar-looking garment fit well and come off as generic enough to be absorbed into a girl’s wardrobe, and Saint Laurent’s sales have shot up because of it. Still, the grunge and glitter theme also gave Slimane the key to turning out his more special things, too: loads of variations on the bias-cut slip dress in metallic sequins or velvet patchwork, liquid gold charmeuse or black silk, plus glam fur and feather chubbies. Finally, though, there is only one litmus test which will make this, or any collection, sell: Is the girl on the runway someone other girls want to be? Slimane’s good at pushing classic youth-cultural buttons, but in his casting the one thing he’s not in touch with is the fact that today’s young girls want to look at other girls who represent the way they look. How long will it take for designers to realize how badly they’re cutting their own chances by not reflecting that? from Vogue.com
Views: 3069 The Couture Times
Christian Dior Spring 2016 Ready-To-Wear PFW
 
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Follow me on www.twitter.com/leo_gamero for the latest fashion news! Christian Dior Spring 2016 Ready-To-Wear PFW from Vogue.com PARIS, OCTOBER 2, 2015 by SARAH MOWER There were mountains of delphiniums shipped in to decorate the Dior tent and mountains of people clogging the Rue de Rivoli entrance, jostling for a glimpse of Rihanna. Inside, though? There was Raf Simons backstage, talking about keeping things simple and quiet: "It’s a calm one, and very soft—away from the overdone. I didn’t want to embellish. So I was thinking about the South of France—rainbows and the simple things. And there’s a bit of Victoriana: something of that film Picnic at Hanging Rock. With a slight sexual undertone of darkness.” Simons can lay reasonable claim to have been the one to start both the current Victoriana-nightdress trend and the intergalactic astronaut trends that are running through so many collections this season—he proposed both themes in his Spring 2015 ready-to-wear show. But part of the responsibility for helming a behemoth brand like Christian Dior is filling stores with daywear for women who like feminine things rather than conceptual clothes, and this season he attended to servicing it. His solution was to pair scallop-edged handkerchief cotton dresses, little shorts, and bodices with black tailoring. The jackets—softened from the corseted New Look hourglass—skimmed the body and broke into bands of micro pleats at the hem, a masculine-feminine merge suggesting the techniques that went into the trains of Victorian and Edwardian dresses. The sexual undertone? Not so much in the clothes as at the necks, which were bound with tight scarves and chokers, each carrying a single jewel and dangling a metal tag, some of which read 1947, the date of Dior’s revolutionary New Look collection. In terms of fashion, though, there was nothing very disturbing or challenging in any of this. Deliberately so: In a season where many collections have apparently neglected to remember that there might be warm weather in 2016, Dior is one place where fresh summer options will be found.
Views: 4152 The Couture Times
Rebecca Minkoff Spring 2016 Ready-To-Wear NYFW
 
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Follow me on www.twitter.com/thecouturetimes for the latest fashion news! Rebecca Minkoff Spring 2016 Ready To Wear NYFW from Vogue.com NEW YORK, SEPTEMBER 12, 2015 by KRISTIN ANDERSON One gets the feeling that Rebecca Minkoff’s customer might be most familiar with the designer’s seasonal muses from, say, a Pinterest board. Still, if Minkoff can turn on her young clientele to the likes of Patti Smith or Françoise Hardy, as some of the icons she's envisioned through her kicky clothes, more power to her. For Spring, the inspiration was Marianne Faithfull, whom Minkoff discussed backstage in terms of both her sweetness and her rebelliousness. The designer nodded to that duality with her color story, opening the collection with a parade of virginal ivory, cream, and bone, which soon gave way to plenty of black. The Minkoff girl at her baddest (and coolest) came in an homage to Faithfull as seen in The Girl on a Motorcycle: a lightened-up take on the black leather jumpsuit she wears in the film. Shapes here were a mishmash of the Mod (a sweet suede shift) and the bohemian (maxi tank dresses with a nice flyaway sleeve detail). The hemlines were short, and the designer’s footwear of choice—a pared-back knee-high gladiator with colored Lucite heels—came up long on appeal.
Views: 902 The Couture Times
Lanvin Fall 2016 Menswear PFW
 
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Subscribe to the channel & follow www.twitter.com/leo_gamero for the latest on fashion shows and news. Lanvin Fall 2016 Menswear PFW from Vogue.com PARIS, JANUARY 24, 2016 by ALEXANDER FURY Fall 2016 marks Lucas Ossendrijver’s 10th year designing for Lanvin. It’s an anniversary that has been eclipsed, it’s fair to say, by departures, both rumored and actual. Not least of Lanvin’s artistic director, Alber Elbaz, back in October. Ossendrijver wouldn’t be drawn into discussion of that ahead of his show Sunday morning, bar stating that the situation had made him consider what motivates him, why he wants to design clothes, why he loves it. It seemed a well-rehearsed line, which doesn’t mean it isn’t true. There’s a lot of love in the clothes that Ossendrijver makes. On the runway, these are articulated in the minutia of finishing—multiple stitches, unusual construction techniques, odd materials, a feel of the hand. It’s often lost in a vast catwalk panorama, so although Ossendrijver occupied a grand space on Paris’s outskirts, he pulled his audience in close and intimate, the runway rendered a few feet wide. “Zooming in on details,” Ossendrijver called it, echoed by motifs of things like hacksaws and keys, “things you touch with your hands,” he said. A series of jackets were spray-dyed, and pigment was also sprayed across the shoes (in the only overt acknowledgement of his anniversary, Ossendrijver reissued a clutch of sneaker styles from his decade at the label). The overall feel was lived in, pre-worn, an affectionate scruffiness. Ossendrijver balled up his sweaters into bags and tossed crumpled tweed coats onto hangers not through carelessness, but reality. “It’s clothes,” he shrugged. “You should wear them. They should live.” Reality was what Ossendrijver was hankering after, joining a chorus of voices lusting after the falling-apart for Fall. It’s not really deconstruction, rather a rinsing off of residual starch and stuffiness, and generally beating up everything a bit. Tailoring was fluid to the point of runny; inside details—besom pockets, revers, and facings—were transposed to the exterior, their flanks made from lining material. Ossendrijver had to cajole Lanvin’s Italian factories not to make everything too perfectly. “I wanted things to be believable,” he said quietly. He said it quietly on the runway too, through rumpled layers, frayed edges, creases, a sense of imperfection. It was adroitly done, but would have seemed more arresting if it wasn’t merely the closing statement, on the final day of the Fall menswear season, to a general conversation whose other participants seem more emphatic and vigorous. Admittedly, it’s a conversation Ossendrijver helped to start at Lanvin way back when, when he slopped up suits with the sneakers he showed again today. You thought about that moment a lot. And despite the fact, Ossendrijver said he wanted to look forward not backward with this show, there was something undeniably retrospective about these clothes. Their careworn and aged feel made them feel old, in one way; their references to styles Ossendrijver used to establish both Lanvin’s name and stake in the menswear sphere, in another. The look was still seductive, for a certain type of arty man who longs for the bombast to be pulled out of his wardrobe, even if the stylistic bite was dulled. That said—wasn’t it great to see a Lanvin show that just looked like Lanvin, without the understandable confusion that could arise from Elbaz’s absence (Pre-Fall was a mess); or the mishmash of external ideas that have previously distorted the label’s men’s offering? Lanvin may have been confirming a consensus, rather than bucking a trend, but Ossendrijver’s offering felt true to himself, to why he designs clothes, and to why he still loves it.
Views: 1451 The Couture Times
Dolce & Gabbana Spring 2016 Ready-To-Wear MFW
 
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Follow me on www.twitter.com/leo_gamero for the latest fashion news! Dolce & Gabbana Spring 2016 Ready-To-Wear MFW from Vogue.com MILAN, SEPTEMBER 27, 2015 by SARAH MOWER Stefano Gabbana was sitting amid a sea of accessories—velvet slippers with turned-up toes, earrings in the shape of lemons and oranges, crocheted raffia bags, wooden clogs with rose-painted enameled soles, and gigantic sunglasses decorated with flowers and crystals—in the Dolce & Gabbana studio before their show. Meanwhile Domenico Dolce was coaxing laughs from a model as he fitted her into a black lace bra and skirt and proceeded to demonstrate how he wanted her to first sashay the runway, then stop to take a selfie. “You see?” exclaimed Gabbana. “We don’t believe in fashion for trends any more. We want to show emotion. Just enjoy!” Their inspiration boards were pasted with printouts of vintage posters advertising the attractions of Capri, Venice, Rome, and Florence; movie stills of Italian stars; and pictures of all kinds of handmade, homemade souvenir embroideries. This summer, the designers have moved on from exploring Sicilian history to seeing Italy’s glories through the eyes of the foreign tourists who began to flood into the country after World War II. There, visitors found little shops selling embroidered circle skirts and sundresses, printed scarves, sandals, straw hats—things that Italian women had been making at home to cheer themselves up in times of austerity. “This is where the first boutiques came from,” explained Gabbana. “We think it was the beginning of Italian fashion. And it was because foreigners saw it and liked it! Sometimes we Italians don’t appreciate all the things we have here!” Stepping back a bit to view the D&G show through the prism of the season, it seems that Italian style and culture—the flamboyant, sensual, colorful sides of it—are being appreciated again. Alessandro Michele is on the same sort of track at Gucci, and at Valentino, there’s a deep exploration of the glories of Rome. In fact, Dolce & Gabbana were actually on the scene first, and have succeeded in grabbing girls and women from all around their world with their seasonal travelogues. If that means ditching the anxieties of fashion and just going for clothes that suit and make you happy? So be it, say Dolce & Gabbana.
Views: 4391 The Couture Times
Prada Womenswear Spring 2016 Ad Campaign Film
 
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Subscribe to the channel & follow www.twitter.com/leo_gamero for the latest on fashion shows and news. The Prada Spring/Summer 2016 Womenswear Advertising Campaign presents an investigation into cyclical evolution, fragmenting and layering the decades of the past to refigure them into modernity. Featuring Sasha Pivovarova, Natalia Vodianova and Yasmin Wijnaldum Photography: Steven Meisel Music by Arca
Views: 875 The Couture Times
Gucci Spring 2016 Ready-To-Wear MFW
 
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Follow me on www.twitter.com/thecouturetimes for the latest fashion news! Gucci Spring 2016 Ready-To-Wear MFW from Vogue.com MILAN, SEPTEMBER 23, 2015 by SARAH MOWER The incoming march of a new generation in Italy has begun, and the fashion world finds itself standing back spectating on the sudden arrival of a multicolored, sparkly, life-affirming parade. Alessandro Michele is in the spotlight as the Pied Piper of change—a risk-taker and revolutionary who has not so much wiped the slate clean at Gucci as doodled all over it, colored it in, stuck sequins on it, and tied it up with a grosgrain bow. His Spring lineup was a very much amplified, filled-in, decorated, and dazzling accessorized extension of the girly, geeky, vintage-like collection that he launched last season in the incongruously dark nightclubby surroundings of the show space the company had been using since the ’90s, when Tom Ford was grooving the disco ’70s at the brand. As Michele said backstage, surrounded by a visual kaleidoscope of glittery, flower-embroidered satin, chiffon, Lurex knits, brocades, and trimmings, “It’s a big trip! Of course I am interested in personal style and quirkiness. There are things here that look vintage, but don’t really exist as vintage—it’s the illusion of it. I’m not nostalgic! I’d like to shake it up again.” Michele is having none of the slick Gucci aesthetic that descended down through the tenure of his predecessor and former boss, Frida Giannini. This time, he led his army of Gucci girls into the open air and constructed an aristo-domestic set, with a printed carpet against the backdrop of a disused train depot—a plot of broken-down, old industrial Milan which, if we are to be romantic about it, seemed something like a metaphor for Italian regeneration. What Michele is doing is certainly very Italian, in its references, which (if we are to be geeky about history) run the gamut from Missoni’s Lurex knits to Roberta di Camerino to Walter Albini and generally use the wonderful era of expressively luxe postwar dressmaking fabrics as a playground. Michele said he has been thinking about the Renaissance and the 1970s—both great eras for Italy in their own ways—but that his whole point is to express personality and emotion through his clothes. “Fashion is close to tenderness,” he declared, apologizing for his English. “I haven’t slept for two days!” No wonder. Apart from his sweeping in of a whole new aesthetic, the vast variety of components in the collection must have kept Michele and his teams—and the shoe, bag, hat, eyewear, and trimmings communities of Italy—working around the clock for months. The results are mesmerizing close-up: Gucci loafers that get pearl-studded heels, damask slip-ons with ridged soccer soles, green boots with flared heels and ghillie laces in rococo blue satin, a pair of Mary Janes with studs made of bullet casings. That’s just for starters. If Gucci manages to supply even a fraction of all this stuff to its stores worldwide, it could have riotous demands on its hands.
Views: 61013 The Couture Times
Atelier Versace Spring 2016 Couture PFW
 
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Subscribe to the channel & follow www.twitter.com/leo_gamero for the latest on fashion shows and news. Atelier Versace Spring 2016 Couture PFW from Vogue.com PARIS, JANUARY 24, 2016 by SARAH MOWER Glorification of every curve of a woman’s body through clothing—if there’s one house that owns that idea, it’s Versace. Under Donatella Versace’s reign, the label has recently taken a feminist slant, angling away from the notion of woman as rock-star arm candy and nightclub predator. Versace’s Fall ready-to-wear was a refreshing tour de force in glam urban militaria, but how to follow that in couture? The Rio Olympics are coming up in August, so maybe that’s what sent Donatella in the direction of female power through athleticism—the body used to achieve personal goals that aren’t to do with man-catching sexuality. Well, that’s what the soundtrack pointed us toward, anyway: a narrative by Violet, speaking out about “feminine strength to overcome obstacles.” Nonetheless, this Versace Altelier collection was a full-on old-school display of cutaway, plunge, curve, slash, and skin display. After an opener of optic white tailoring and taut ski pants, it was on with the real business: feats of dressmaking engineering involving asymmetrical patchworked geometries, suspension by Swarovski ropes and twisted straps, embroidered and printed ergonomic patterns, skewed sequined checkerboards and poured silicone grills. In her couture collection, Donatella is determined to add new science to traditional techniques, and she noted that the work in this show was some of the most time-consuming she’s ever devised. Still, labor and complexity don’t always sell a dress. After all the body-con gowns and fitted minidresses, it was the moment when she broke free of the sporty theme with a few light, sheer dance-dress silhouettes with full, airy skirts that looked best.
Views: 4026 The Couture Times
Ralph Lauren Spring 2016 Ready-To-Wear NYFW
 
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Follow me on www.twitter.com/thecouturetimes for the latest fashion news! Ralph Lauren Spring 2016 Ready-To-Wear NYFW NEW YORK, SEPTEMBER 17, 2015 by NICOLE PHELPS “U.S.R.L. 1967,” the patch on a white shirt announced. Jessica Chastain, Julianne Moore, and the rest of us were transported oceanside at Ralph Lauren’s show this morning. To use a maritime expression, the designer found his sea legs for Spring. Accessories ranged from captain’s hats to souvenir straw bags to the sort of cork platforms you see in resort towns. As for the clothes, they hewed to the RL standards: preppy yacht-clubbing essentials in a vivid all-American color palette, and cable sweaters draped over shoulders or wrapped around waists. Amid the large offering of navy and tan leather jackets, there was at least one of his de rigueur double-breasted blazers. The seafaring theme was particularly hard to miss in a series of looks in a super-bold, geometric sail print. This was one of Lauren’s most literal-minded collections in some time, but if the designer and his styling team might’ve used a lighter touch to convey the season’s crisp, sporty message, piece by piece there were great clothes. A color-blocked sleeveless jumpsuit had the graphic punch of nautical flags. Clingy knit dresses that took cues from athletic swimsuits looked like they’d be fun to wear—in particular, the evening versions with their sexy, strappy backs. And who doesn’t love a striped knit? Speaking of stripes, the stars of the show were the evening dresses in cotton broadcloth shirting fabric: haute silhouettes in a humble fabric.
Views: 5629 The Couture Times
Calvin Klein Fall 2016 Menswear MFW
 
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Subscribe to the channel & follow www.twitter.com/leo_gamero for the latest on fashion shows and news. Calvin Klein Fall 2016 Menswear MFW From Vogue.com MILAN, JANUARY 17, 2016 by ALEXANDER FURY Icon is an overused term across contemporary culture, not just in fashion. It’s in current rotation to describe everything from a hamburger to a pair of underpants. Outside the Fall 2016 Calvin Klein Collection show, thousands of screaming girls chanted the name of Cameron Dallas, an apparent online sensation. “He’s our icon,” one of them said, tears streaming down her face. No one in the fashion fraternity seemed to have heard of him, nor could we work out what he did. It was quite Warholian. That’s the thing about icons; there aren’t that many that everyone can agree on. Italo Zucchelli has more than a few at his disposal at Calvin Klein, though—garment-wise, the logoed waistband and the world’s first wildly successful designer denims rank up high; there are also those tanned, toned, and semi-clad demigods immortalized by Bruce Weber, the kind of guys those teenage girls would have been screaming for 20 years ago. Foiled nylon in gold, platinum, and rose-gold framed the faces and bodies of those mens’ contemporary counterparts, the buffed-out models that make a Calvin Klein show look utterly different from anything else in menswear. I couldn’t help but think they looked a little like gilded Catholic icons of suspiciously good-looking saints. But maybe that wasn’t intentional. Zucchelli built his collection this time around on another icon: the man’s suit. “I wanted to show the universal power of men’s tailoring,” he said. He decided to do that by putting his men’s suits on women for the first time—the boldface model likes of Mariacarla Boscono, Iselin Steiro, Jessica Miller, and Gemma Ward. They’re not exactly Linda, Christy, Claudia, and Naomi, but the former foursome, they do have an instant-recognition factor. “It’s sensual, sexual,” said Zucchelli of those Calvin suits, worn over bare skin by male and female alike. They were impeccably cut—sometimes so perfectly you didn’t realize quite how they built out the muscular models into Superman proportions. Not that they weren’t already naturally endowed: It takes a special type of man to look good in the CK-waistbanded long-underwear-as-outerwear that bottomed suit jackets at the end of the show. We all know what that means. Transformation, however, is a fascinating theme in fashion—and particularly here at Klein. Zucchelli transformed denim into a jacquard, painstakingly woven in a trompe l’oeil of daily wear and tear, making the everyday precious. Zucchelli first used that jean jacquard for Spring—so they lacked the pleasant frisson of surprise. Ditto the foiling, which was reminiscent of a very specific Helmut Lang collection. No one was foiled. Alchemy was the reference Zucchelli tossed out—apparently, it’s something he’s wildly enthusiastic about, and has a library full of reference books on the subject. It did make sense, both as the ostensible inspiration behind all that metallic nylon, pumping up the visual impact of utilitarian anoraks and MA1 jackets; and perhaps of the front row presence of the enigmatic Dallas. Judicious googling ascertained he’s has been transformed into pop culture platinum via the alchemic power of 21st-century social media (apparently, he’s an especially adept user of the social media platform Vine). Did Zucchelli alchemize gold from Klein with this collection? Not quite. The suits were slick, but serviceable; the metallic linings were arresting, but they felt restricted to editorial. There wasn’t enough of that truly iconic Klein branding, either. On the whole, Zucchelli delivered a show that was a fairly solid silver, clad in a well-cut black suit.
Views: 6480 The Couture Times
Alexander McQueen Spring 2017 Menswear LFW
 
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Subscribe to the channel & follow www.twitter.com/leo_gamero for the latest on fashion shows and news. Alexander McQueen Spring 2017 Menswear LFW from Vogue.com LONDON, JUNE 13, 2016 by ALEXANDER FURY With creative director Sarah Burton still away on maternity leave after the birth of her third child, the Alexander McQueen label stepped back from the runway to present its latest menswear collection via a series of intimate appointments and a sequence of atmospheric images photographed by Julia Hetta. “You wouldn’t get them from a show,” said Harley Hughes, McQueen’s head of menswear design, of Hetta’s painterly images. You also wouldn’t get that level of interaction, with the designers nor with the clothes themselves. It made a pertinent argument for alternatives to catwalk showcases—one that felt timely, given the current fusing of men’s and women’s runway presentations from many of the brand’s contemporaries (FYI—McQueen reps say the label will be back showing for Fall 2017). And McQueen’s menswear bears closer scrutiny, as inspection often surrenders hidden details that the runway can swamp. In this collection, those details included the intentional curling edge of the gold embroideries embellishing sweaters and jackets, inspired by the notion of archive clothes crumpled and distressed with age, a revival of old wardrobe favorites. There was a sense of familiarity about this collection—for one thing, it continued in the same vein as McQueen’s Fall menswear offering, swinging from street to ceremony and offering sharp tailoring for day and plenty of exuberantly decorated eveningwear, teamed with white sneakers for a contemporary feel. Apparently, alongside the decorated pieces, McQueen’s kicks are the first thing to sell out when they hit stores. But it also referenced a rich seam of classic English tailoring, of braid-bedecked military suiting and frogged officer’s mess dress that is so important to the 21st-century survival of Savile Row, where a young Lee McQueen first learned his trade. Hughes elaborated on a story line: “A ’60s guy, in London, going off traveling and immersing himself in imperial India,” he said. So the suits were sharply cut, in crunchy paisley brocade with a hint of Mr. Fish, the choice psychedelic ’60s suit-maker, alongside flamboyant embroidered frock coats, ruffled shifts, and dandyish silk roll-necks based on vintage Turnbull & Asser styles. Both they and Mr. Fish—for all his peculiarity—were British through and through, much like McQueen itself. Indeed, despite the roaming of influence, the results come right back to London. The Raj may have influenced a maharani’s ransom of paste jewels, for instance, but they wound up hung off variations on last season’s wince-worthy facial jewelry—clip-on, rather than actually piercing the cheeks of the models, but nevertheless distinctly punk in feel. Even when crushed velvets turned a rich turmeric, Hughes couldn’t help but remark they’d strayed into “Keith Richards territory.” Hetta’s handsome lookbook images themselves, meanwhile, express the sweltering, sun-bleached feel of an air-con-free Mumbai 50-odd years ago, shimmering with a mirage-like haze. It was, ironically, shot around the corner from the McQueen HQ in a glass box in London’s Clerkenwell, taking advantage of the city’s unseasonably clement June weather to stand in for the subcontinent. You’d never get that in a runway show, indeed.
Views: 734 The Couture Times
Loewe Spring 2016 Ready-To-Wear PFW
 
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Follow me on www.twitter.com/leo_gamero for the latest fashion news! Loewe Spring 2016 Ready-To-Wear PFW from Vogue.com PARIS, OCTOBER 2, 2015 by SARAH MOWER “I’m interested in leather techniques and innovation,” said Jonathan Anderson. “I want to work with that, and to sharpen the edge.” He was speaking at the conclusion of a Loewe presentation that threw out hard-to-define imagery—a bit spacey, a bit ’80s, but in another sense, totally grounded in a house reality. Give or take a couple pairs of plastic-wrap trousers and transparent pants, the show Anderson pulled together was essentially a brilliant walking exhibition of accessories. He is a curator with an eye for placing multiple products in an interesting context and making them wantable from many angles. Take the jewelry. Once you’d seen the gold bracelets with their gold fringes pouring down the hand, the eye was inevitably drawn to the bags and the variety of things that were happening with the signature Puzzle shape. “I wanted the bags to articulate the look, to electrify it,” said Anderson. The house of Loewe is an old, established Spanish fine leather company, but Anderson understands that nothing could be duller than to dutifully put a luxurious leather coat with a matching bag. His project is to de-bourgeois-ify the context, and that’s how he came up with the device of using man-made materials—PVC, injection-molded synthetics—next to the traditional: “I thought, what else could be like a second skin?” What’s really clever is the way every look can be parsed down to desirable components. Where there are impossibly wearable plastic wrap pants, there is also a regular sweater with a sheer yoke destined to go straight to retail. Where there’s a showpiece tunic, covered in smashed mirror pieces, so are there dozens of buyable shard earrings. Alongside the avant-garde Puzzles there are just as many made in beautiful leather and suede. Equally as smart is the placement of the wholly “normal” within this new hyper-styled arrangement. There was nothing at all outrageous about the superfine, patchworked suede tracksuit in this show—it’s the sort of “leisure” purchase Loewe has been selling to its existing customers for decades. Now maybe a fashion-bent trophy hunter will be looking for that sort of thing, too. In that way, Anderson is keeping everyone happy: editors and photographers who’ll want to shoot the extreme image, as well as fashion-conscious shoppers and the people who’ve been buying Loewe as part of a lifestyle for years. Not to mention the brand’s owner, LVMH, which must be standing back and admiring what Anderson is doing for the bottom line by now.
Views: 496 The Couture Times
Givenchy Spring 2016 Ad Campaign Film
 
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Follow www.twitter.com/leo_gamero for the latest on fashion. Givenchy Spring 2016 Ad Campaign Video Discover the Givenchy by Riccardo Tisci Spring Summer 2016 Advertising Campaign's Video. Visit www.givenchy.com for more info. Creative Director: Riccardo Tisci Directors: Mert Alas & Marcus Piggott @ Art Partner Art Director: Giovanni Bianco Stylist: Carine Roitfeld Hair Stylist: Orlando Pita @ Art+Commerce Make Up Artist: Lucia Pieroni @ Streeters Casting: Mariacarla Boscono @Viva Paris Miranda Kerr @ Img Paris Joan Smalls @ Img Paris Iselin Steiro @ Women paris Lara Stone @ Img Paris Candice Swanepoel @ Img Paris Natalia Vodianova @ Viva Paris Gemma Ward @ Img Paris Isis Bataglia @ Metropolitan Paris Lexi Boling @ Img Paris Leela Goldkuhl @ Next Paris Kris Gottschalk @ Elite NYC Imaan Hamman @ Viva Paris Issa Lish @ Premium paris Lineisy Montero @ Next Paris Greta Varlese @ Elite Paris Diego Fragoso @ New Madison Paris Filip Hrivnak @ M Management Paris Antoine Lorvo @ City Models Paris Alessio Pozzi @ Elite Milano Kevin Sampaio @ Wilhelmina NYC Deion Smith @ Red NYC Alexandre Valoto @ Elite Milano Gabriel Vieira @ Elite Milano
Views: 1379 The Couture Times
Viktor & Rolf Spring 2016 Couture PFW
 
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Subscribe to the channel & follow www.twitter.com/leo_gamero for the latest on fashion shows and news. Viktor & Rolf Spring 2016 Couture PFW from Vogue.com PARIS, JANUARY 27, 2016 by AMY VERNER Imagine being the model forced to navigate the Viktor & Rolf haute couture runway swallowed up in a tower of Cubist polo shirts. Maybe she was relieved no one could see her face; maybe she felt like a work of art; maybe she wondered whether she was defining a disruptive fashion moment. As self-described “fashion artists,” Viktor Horsting and Rolf Snoeren once again tested the limits of wearability while winking at the most radical art movement in recent history. Right from the first exit they revealed their intention, altering a simple white tennis dress by warping its hemline and tacking on a face that was unmistakably Cubist. Like a progression of Surrealist studies, the technical piqué creations turned more and more outrageous, boasting the types of details that would have made Apollinaire smile. The material volumes thrust outward in faceted relief, just as they spiraled, ruffled, and projected into space. They bowed to Braque’s collages and blew a kiss to Matisse’s cutouts and fluttering “little cubes.” Picasso was omnipresent: In some instances, the faces felt Dora Maar distorted; in others, the impression was feminine Françoise. Eyes and boobs became indistinguishable—a device Magritte toyed with repeatedly. Masklike breastplates channeled Cubism’s infatuation with primitive art. Clothes often get described as sculptural; Horsting and Snoeren aimed for sculptures (set atop Dr. Martens). But the collection would have amounted to little more than an exercise in well-executed appropriation were it not for the 3-D construction and impressive pattern work. Snoeren used the word rigorous to describe the process and explained how the all-white lineup permitted a likeness to plaster or marble. The effect, however, was delightfully spontaneous. One intriguing constant in their designs is a particular emotional detachment. You can never be sure whether they are expressing a concept with extreme seriousness or reveling in the absurdity. This time, the recorded music was Radiohead’s “Creep” sung by a Belgian girls’ choir, as if giving voice to these disfigured forms. Yet among the 22 looks, the early dresses weren’t actually so Coucou Bazar. Nor were they entirely out of reach; a capsule collection of 100 tops and tunics will be available for order at Moda Operandi as of Saturday. Ready-to-wear–able art might just be a movement in the making.
Views: 899 The Couture Times
Valentino Fall 2016 Ready-to-Wear PFW
 
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Subscribe to the channel & follow www.twitter.com/leo_gamero for the latest on fashion shows and news. Valentino Fall 2016 Ready-to-Wear PFW from Vogue.com PARIS, MARCH 8, 2016 by SARAH MOWER A pianist was playing compositions by John Cage and Philip Glass, as a stream of girls dressed as dancers going to and from rehearsals and performances walked past her on the runway. The Valentino show today was about ballet, or more specifically, the modern dance movement and its “happenings,” but for Maria Grazia Chiuri and Pierpaolo Piccioli, it was also a deeper commentary on slowing down and living in the moment. “We always think fashion is cultural, not just about delivering clothes,” said Chiuri. “We want this show to be about living your moments, feeling each moment uniquely. I really love fashion. This job we do is a good opportunity to describe the time we’re in.” You can read into that, the designers’ abstract response to the speed of digital information and the new hue, and cry over the rush to make everything in fashion available to buy the minute it’s seen. If anyone stands as a shining example of doing the opposite, it’s these two. No matter what theme runs through their collections, the important thing is the phenomenal success they’ve built by letting a recognizable identity develop over the years, and never skimping on the skill that goes into making their uniquely beautiful clothes. Exploring the worlds of Martha Graham, Merce Cunningham, Diaghilev, and the Ballets Russes brought up the imagery of dancers’ warm-up clothes, the layering of dresses and tutus over sweaters and footless tights, coats tossed over stagewear on the way home from theater, and of a whole corps de ballet of fragile, glitter-sprinkled tulle costumes for the grand finale. In a season when few designers have thought about eveningwear, the huge variety of jeweled and crystal-embroidered nude-color tulle dresses, with their high necklines and delicate-yet-decent transparencies, will surely add even more to Valentino’s surging profits, although they are not news from this house. The beam of the fashion spotlight always searches out the avant-garde and the different—and this season it picked out the simpler, more flowing shapes; the fluid jersey dresses; and the extraordinary things in chartreuse, bottle green, and champagne-color silk velvet. Among the long, slim coats, all immaculately tailored, it was again the “outlier” fabrics that jumped out—a trench in black leather, an edge-to-edge raincoat in slick burgundy patent. As for time standing still in the magical moment of a performance? It didn’t quite—the notion of fashion’s endless march was not banished by the traditional runway show format. Yet Chiuri and Piccioli definitely help women conquer time in another way: Once bought, these are clothes to be worn and cherished for a lifetime.
Views: 1892 The Couture Times