Concept to Reality

Viktor & Rolf have always been about concept when it comes to their fashion aesthetic, however their Spring 2009 collection shows how easily this conceptual approach can be transformed into garments and looks that work on a more everyday level. The Amsterdam based design duo are arguably more famous for their artistic endeavours (they currently have an exhibition in London's Barbican Art Gallery), yet here they remind us clearly of their fashion capabilities.

The main inspiration was Hawaii in the 1950s, ostensibly a time of natural elegance for the designers. This idea was realised in almost Ralph Lauren-esque WASP creations, with a wonderfully light palette and simple tailoring. However the delightfully simple garments were finished to a high quality, with equally simple yet elegant patterning and adornment. There were traces of loose tailoring, for example one rather slouchy jacket, and the relaxed and beautifully cut baggy pajama trousers (shown above). The collection had an ease and light elegance to it, yet I personally feel, upon first glance, that 'Hawaii' would not be the main inspiration that I would be drawn to conclude. Despite this small quibble however, the collection as a whole appeals to me stylewise - I would definitely love to wear some of those pieces!

On a side note: Van Gogh walks into a bar, the barman offers him a drink - 'No thanks' says Van Gogh 'I've got one 'ere!'

Currently playing: Big Girls - Mika

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Wait...what?!

Upon first glance these images could be more than somewhat confusing, but Yohji Yamamoto has never really followed the rest of the crowd when it comes to fashion. He has been labelled a philosopher, a genius and even the sexiest man alive. Giorgio Armani has called him 'a poet' and Donna Karen 'an artist'. Harper's Bazaar wrote that his desgins are 'often spiritual, intellectual, lyrical, abstract, sometimes difficult, yet always beautiful.' Indeed his collections serve to be both avant garde and classic at the same time, through the use of dark fabrics applied to almost androgynous, asexual creations. Yohji himself states that 'I want to achieve anti-fashion through fashion; that’s why I am always heading in my own direction, in parallel to fashion'.

The 1980s saw Yohji and other Japanese designers descend into Paris, bringing with them strange draping black asymmetric creations, so far removed from the glamourous and often egocentric designs of the time. His early designs were actual inspired from uniforms, specifically those of post war Japan, especially poignant for him, as his mother was a war widow. In terms of his womenswear, he seperated himself from other desginers, in that he focused on the back of all garments and built his way from there. The reason he gave for this was that the back was the most sensual and beautiful part of a woman, the curves of the back gave structure to her whole being, therefore any clothing should accentuate and celebrate this.

Yohji continues his ideas of celebration into his Spring 2009 collection. It is a celebration of all ages and sizes. The runway was oddly occupied with men of around his age, with wonderfully aged looks, looking almost like faded beauty, thereby signalling a hint of sorrow within the celebration. Backstage he said 'the world is becoming worse and worse. My message is, let's be happy.' The hints of red and blue are for Yohji's designs very upbeat, for one is usually confronted with a sea of black and greys at his shows. I find it odd that a man often marginalised as an artistic hero, a conceptual genius, for the upper classes, is also almost an embassador for democratic fashion on the runways.

*EDIT* Thought I'd share some photographs of the Espadrilles I ended up getting!
Currently playing: Only U - Ashanti / Speed Of Sound - Coldplay

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Etro Celebrates

Etro is very much a family run fashion house, founded in 1968 by Gimmo Etro, the menswear line is now run by Kean Etro, with his sister Veronica in charge of womenswear. Etro has stamped its mark with bold colours and beautifully complex patterning, rather dichotomously applied to traditional and smart tailoring. They have recently gained popularity from their extensive use of paisley to great stylistic effect, and arguably even its fashion revival. Even Etro's ostensibly conservative tailored suits packed a punch with super colourful linings, adding a unique fun touch to their designs.

As such it appears that Kean chose the Spring 2009 collection to celebrate these signature styles and patterns. The runway was awash with the delightfully colourful and intricate patterns that have gained Etro such fame. The fabrics were luxurious and laid back, reminiscent of the orient, indeed almost inspired directly from Kean's recent visit to the Subcontinent. Indeed one notes the last model, those are traditional longi pants, worn pretty much all over the Subcontinent. Interestingly, not at all of dressing up, rather for lounging around, being a simple piece of fabric wrapped around with an additional piece tied to hold it all in place. This in itself adds a quality of fun and celebration to the collection.

Even the smart tailoring of the collection maintained this celebration, dressed with crumpled shirts or constructed from vivaciously coloured satins. Scarves and ties were seldom to be seen actually adorning necks, rather they were wrapped around waists, giving a funky edge even to the most traditional looks. I personally loved the Etro show, it is refreshing and exciting to see a designer have such obvious fun with a collection. It is a celebration of their own success as well as a celebration of menswear, drawing from global inspirations. The judges from Project Catwalk would probably disagree, but: who cares if it ventures into costume?

On a side note: Why are pirates funny? - They just arrr!

Currently playing: Please Don't Tell Her- Jason Mraz / On The Rock ft. Jay Z - Mavado (biiiiiiiiiig dancehall tune!)

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The Father of Haute Couture

Ball Gown 1872

Day Dress 1883

Evening Dresses 1887/1892

Evening Dress 1893

Evening Dress 1898

Continuing on from yesterday's post on Victorian Fashion, I found it somewhat impossible to continue without mentioning one of the most important fashion desginers in history, the so called 'Father of Haute Couture', Charles Frederick Worth.

Born in 1825 in England, Worth took his first steps in the fashion world as an apprentice for a textile merchant based in London. Whilst there he would gain an intricate knowledge of fabrics and supply for dressmakers. In London Worth also spent his time wandering through the extensive collections of the National Gallery. The historical portraits would serve as a major inspiration and influence for his own designs.

Worth moved to Paris in 1845, where he found work with the prominent French firm, Gagelin, who dealt with luxury textiles goods. He would quickly become their top salesman and eventually opened his own firm as a garment designer in 1858. With the restoration of the Royal House by Napoleon III in 1852, Paris was reinstated as Imperial Capital. As the capital, Paris would be host to a variety of State Occasions, the importance of which would bring Worth's designs into the spotlight.

Napoleon had a grand vision of Paris, wanting to modernise, but also make Paris the cultural showcase of Europe. As a result Worth repeatedly gained patronage in Court circles, his lavish attention to detail and fit were highly regarded and secured his place as top dressmaker. Indeed although he catered primarily to specific court clients, he also made general designs for his workshop, from which clients could choose a design to be custom made for them. In this way he had both one off pieces, but also more accessible pieces. This is not to say that he was only known in the higher circles of society however, by the 1870s his name was appearing in general fashion magazines.

The actual historic House of Worth was opened in 1871, when Worth reopened his workshop following the Franco-Prussian war. Unfortunately Worth died in 1895, however his work was continued by his sons, and the House of Worth would continue as a herald for quality and luxury. The House finally came to an end in 1952, when Worth's great-grandson retired from the business.

Currently playing: Spaz - N.E.R.D / SOS - Jonas Brothers

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Victorian Inspirations

So this is the top I'm wearing today, apologies for the wet hair, I took this photograph after a shower! I was going for a bit of a nautical theme, and over breakfast my older brother said 'You really were born in the wrong century, you look like a Victorian sailor'. Now that got me thinking quite a bit, Victorian London has always appealed to me, I guess I have this unrealistic romantic vision of it. I draw a lot of inspiration style wise from the Victorian era, however oddly enough, this usual means the upper classes - I love the unique tailoring and exquisite details that they would have worn on a daily basis. They had amazing clothing and beautiful style, yet to them it was not exactly dressing up, it was wearing what was normal!

'Victorian Fashion' is a term that technically applies to fashion from the Victorian period (1837-1901) of Britain, normally from the London area. However the term can be loosely applied to the general stylistic trends of Britain and the colonies, and inevitably the influences these trends and fashions had in mainland Europe. Although fashions, womens' trends in particular, underwent major changes throughout this period, the overriding influences were generally the same. Orientalism had a huge impact, imported from the colonies, these styles were seen as sexually abundant and almost with a wistful air. The Pre-Raphaelites also had an impact with the Gothic Revival, which they promoted so heavily. Towards the later end of the Victorian era (1868 onwards) Aetheticism played a large role, along with the Artistic Dress movement, favouring old style romantic clothing, with billowing gowns and puffed sleeves.

What appeals so greatly to me is the fact that the clothing was far more personal than it is today. Although factories were producing reams of cloth and textiles, ready-to-wear garments were nowhere to be seen. Clothing and accessories were all tailor made to exact specifications depending on the respective clients. Those that could not afford this luxury either made their own clothing at home or bought second hand clothing and adjusted the measurements accordingly. Today's market is full of consumers trying to find the perfect fit, whether it be for jeans or a bespoke suit, and they are willing to pay high amounts for it. I find it strange how today this is seen as the height of luxury, yet in the Victorian times, nearly everybody had custom made clothing, whether directly made if they were rich, or altered if they were not so well off. Weird how times change, right?

Portrait (1810) - Unknown

Sympathy (1878) - Riviere

Mrs Ernest Moon (1888) - Sir William Blake Richmond

Miss Cicely Alexander (1872) - Whistler

F.G. Stephens (1847) - William Holman Hunt

Broken Vows (1856) - Calderon

Au Bal - Marguerite de Conflans en Toilette de Bal (1870) - Manet

Images courtesy of Tate Britain and National Gallery (London)

Currently playing: Man Up ft. Bi Rain - Omarion / Cosy In The Rocket - Psapp

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Redefining Gucci

Frida Giannini, creative director of Gucci, defined the Menswear Spring 2009 collection simply as 'happiness'. The collection seems to be a redefining of priorities for Gucci, a conscious decision to appeal to the newer generation. Indeed their own press notes stated that the impetus for the collection was 'the new way in which youth and luxury can seamlessly coexist'. This new choice of direction was immediately evident, as a fusion of rich gypsy and hippie chic overtook the runway, a far cry from Giannini's beloved, more conservative approach of, lean tailoring with understated detailing. The use of beautifully embellished topical fauna created a more laid back and fantasy like effect. Similarly, colourful detailing and careful thought over garment finish gave the collection a wonderfully fresh approach. The hibiscuses either embroided, airbrushed or sewn on patchwork style were undeniably exuberant and yet worked well with the theme, they were not exuberant to the point of being garish. The mark of youth was evident, yet not in over the top fashion, it was carefully considered, to produce high luxury and laid back style.

Currently playing: Drivin' Me Wild ft. Lily Allen - Common

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Harajuku: Street Couture

Harajuku, the name generally given to the area surrounding Harajuku Train Station, in Tokyo, Japan, is internationally recognised for its extreme youth fashion. Every Sunday sees young men and women indulging in mostly costume pieces of wonderous invention and style. Bursting onto the scene in the Olympic year, 1964, Harajuku fashion encorporates a fusion of Japanese notions of 'cute', 'cool American' and 'British rebellion', thereby blending styles such as Punk, Hip Hop, Hello Kitty, Disney, Lolita, Gothic, Cosplay and other equally fascinating fashion 'sub cultures'. The most striking stylistic movement, and the one that intrigues me greatly, is the Visual Kei. Visual Kei sees ultra dramatic make up paired with artistically sculpted hairstyles and almost androgynous styles. The elaborate and beautifully crafted costumes are one of a kind and often one can not help but be in awe of the creativity and detail.

The Harajuku area is quite literally a crossroad for Tokyo youth fashion, with the two main shopping streets of Omotesando and Takeshita Street. Whereas Takeshita Street caters to an undeniably youth based clientele, with many shops catering to various sub cultures and the street being populated with a number of fast food restaurants, Omotesando stands in sharp contrast. Omotesando has everything classic from Chanel to Prada, yet still aware of its youth market, high end trendy stores such as Nigo's highly sought after A Bathing Ape are also to be found.

For me Harajuku fashion is somewhat of a Sub Cultural Street Couture - taking elements from various styles and creating a piece of art, fully thought out and realised with hair, make up, clothing and accessories. Although I personally would not wear much of it, I like to think of much of it as an inspiration - a small piece or detail can inspire an everyday outfit. I find it refreshing and wonderful to see that places such as Harajuku exist, a place where fashion is free from restraints and people can be truly artisitc in their ideas. The closest I may ever get to such extreme and beautiful styles is probably the t-shirt I'm wearing today -

Currently playing: Teardrops - Massive Attack / We Made It ft. Linkin Park - Busta Rhymes

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