First Impressions: Part Three

Continuing on from my previous two posts of first impressions from the Spring 2011 collections at Milan here are a few more looks that took my interest. There is still one collection from Milan that I would like to write a proper review of, as well as a few from Paris that were certainly interesting. I may do a similar first impressions for Paris, however I may just try to condense it into one post so that I can take the time to write up some proper reviews to go with.

Jil Sander

The Jil Sander collection was certainly not for the faint of heart - bright colours cascaded down the runway in a joyful abundance. As you well know I am ever so slightly a fan of bright colours, and this collection had me well covered in that respect. The coupling of colours was bold and unapologetic, with the typically minimalist designs allowing that colour to really draw attention to the cuts. Alongside the simple colour blocking looks were intriguing striped patterns and even some vividly imagined florals.

Whilst the colours and patterns stood out, a small part of me still wanted to see something more interesting in terms of cut and construction. The sleek and slim cuts were well done, however at times it seemed that there was perhaps not quite enough behind the flair of strong colours to make individual pieces stand out. That being said however there were elements alongside the bright colours that took my fancy.

The first was the styling of the printed floral sleeves worn underneath the red trench, which had a partner in a skintight long sleeve top worn beneath a bright blue trench. A far more interesting (and not to mention tasteful) alternative to those rather crude faux tattoo sleeves one often finds, they provided a nice finishing touch. I would be rather interested in seeing them in a more conservative look, treated more like the colourful silk lining of a suit. Perhaps peeking out from underneath rolled up sleeves? As a layering option it is quite the exciting piece.

The second aspect that stood out for me was a particular colour combination. I thought the play of bright yellow, pink and mint green together was fantastic. Whist pairing two bold colours creates an impact of its own, adding that third colour is ostensibly an easy way to amp it up, however it can create yet another pitfall in terms of what colours work well together. Yet by sticking to colours with a similar tonal value, the look really did stand out.

Colour blocking can often be a hard look to carry as one really does need to pay attention to how colours work against one's complexion (I find it hard to wear block orange tops for example), however when done right can create very powerful looks. As such the door such play on the runway opens, for more experimentation with colour, is both interesting and exciting.

John Varvatos

Soft, washed and comfortable. I liked how casual and at ease this look was, perfectly suited to the warmer days of Spring. The combination of the lightweight marled sweater worn beneath the double lined deconstructed jacket gave the look a soft and inviting appeal. The muted colour palette really did work to its advantage, and I liked the contrast in tones between the interior and exterior of the jacket. The construction of the jacket provided the illusion of greater layering in the look, however it was lightweight and open.

I also really liked the rolled up flat fronted grey trousers. I would never wear shorts that come below the knee (actually I rarely wear shorts thanks my freakishly thin legs), however I have always found the look of trousers rolled up to below the knee rather appealing. It gives a sense of that casual elegance which is so alluring to embody. The finishing touches of the soft cloth cap and faded leather loafers added to the rather sun bleached and worn appeal of the look.

Missoni

Missoni killed it with the knitwear. Absolutely spectacular. This sweater vest, and the matching cardigan, were my favourite.

Moncler Gamme Bleu

Thom Browne may be a runner at heart, but he sure can make a collection for fashion conscious cyclists. I have to admit that I do not actually know how to ride a bicycle, but this collection makes me want to get on one and give it a go. A rather simple yet highly functional look, it is the details that makes this look work so well. The colour combination of pink, grey and tan may not be particularly revolutionary (indeed one of my standby outfits is a pink oxford shirt, grey sweater, tan corduroys, pink socks and brown loafers), however upon second glance the look really does stand out.

Note the sporty pink zip top that seems perfect for cycling or running. Equally the cropped tan trousers are perfectly functional, not simply mimicking the part of sportswear. I enjoyed the ribbed grey cardigan, especially the addition of the removable white hood. Indeed functionality has always been what makes Moncler stand apart, and through Browne's vision it is functionality with style. His sportswear looks are almost nostalgic in their realization. Note the styling of the cap and the driving (well cycling I suppose) gloves. I also really enjoyed the addition of the cycle print leggings throughout the collection. They make those plain black Lycra leggings most cyclists wear look positively dour.

Prada

Junya Watanabe x Trickers eat your heart out, the shoes at Prada were sensational. The sharp tailoring also had its allure, and I must admit that I am oddly drawn to the idea of wearing three button suits again.

Umit Benan

Fashion forward? No, not even remotely. However for me this was one of the best looks from all of the Milan shows. Traditional, classic, even conservative, it harked back to an idealized past which paves the way for a better future. It is what Westwood once described her own work as - "nostalgia for the future" - in full effect. Love it.

Currently playing: Find Your Love - Drake

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A good brew

Currently playing: Holiday From Real - Jack's Mannequin

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Get Yer Freak On

Givenchy
Spring 2011

Karl Ruprecht Kroenen
Hellboy

Psycho Mantis
Metal Gear Solid

"It's like high fashion meets cosplay"

Currently playing: Memories Of Green - Vangelis

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Choreographed

Currently playing: Turnt Up - Lupe Fiasco

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First Impressions: Part Two

Following on from my previous post with a few first impressions of certain Spring 2011 looks, here are a few more individual looks that I found interesting. After I am finished with Milan, I may just do a proper review or two of Parisian shows, provided there are entire collections that pique my interest. Although there is a single collection from Milan that I am rather keen to review, I would prefer to give myself some time to consider it fully. However do expect that review in the near future.

Ermenegildo Zegna

I am a huge fan of chunky Spring knitwear as I would far rather leave my jacket at home and simply chuck on a nice sweater. I was particularly drawn to the texture and simplicity of this sweater, which is actually thinner than it potentially looks. I enjoyed the styling with the pushed up sleeves exposing full length shirt sleeves, and the wider neck. The pulled up sleeves provided an additional sense of visual depth, and played rather nicely against the elasticated ankles of the trousers.

I have never really been one to wear crew neck sweaters with shirts, however the collarless option and slightly rumpled fabric certainly made it look appealing. The touch of sportswear provided by the trousers was an interesting direction, and gave the casual look a more youthful finish. Personally I was not a fan of the footwear choice, I would have preferred some tan brogues with Vibram Christy soles, but there we are.

Ermenegildo Zegna

I loved this look. The jacket and trouser combination could have come off far too tracksuit-esque, but the leather trim detailing and cut of the jacket gave it a smarter edge. The collarless and untucked blue shirt was cut rather short, but I think it worked well, especially as it barely peeked out from beneath the fine gauge sweater. Again I enjoyed the elasticated trousers, particularly having been paired with the monk strap shoes. I think the play with more refined sportswear was intriguing, especially considering the decision to finish the look with a leather strapped backpack.

Giorgio Armani

Armani's tailoring has left me somewhat confused as of late, it seems to have lacked a definitive direction. However I think the decision to offer fitted jackets with strong shoulders and relatively slimmer cut trousers was a good one. I feel the cut works successfully in this look, with the barely double breasted jacket providing a nice cinch to balance out the strong shoulders and sharply cut away front. I think the wider lapels certainly helped the look, as a thinner alternative would have felt odd against such obvious emphasis on a broader chest.

The button placement is interesting to consider, with the topmost buttons hitting squarely around the breast pocket region. Indeed all three sets of buttons appear to sit above (even if just barely where the bottom buttons are concerned) the waistline providing the illusion of longer legs. Couple this rather basic tailoring illusion (the collective term for tailors is after all a disguisery of tailors) with the slightly higher hems on the trousers, and the minimal flaring of the jacket at the hips, and the silhouette is one of broad shoulders and chest tapering downwards.

Armani may have come a long way from his power suits, but it is nice to see suits following the inverted V, even if it be subtle.

Gucci

Chunky knitwear + brown leather shoes with white soles? Sign me up.

Haider Ackermann

Luxury is perhaps a relative term, but the Haider Ackermann collection oozed luxury and opulence. Perhaps more an evening look than an everyday look, I loved the loose and open layering. Shape was provided by the rolled sleeves, braided rope belt and tapered trousers. Looks like this make me wish I lived further East. I would lounge after dinner in a room opening out into the night sky, with layers of tulle and brocaded raw silk draped elegantly around, and the smell of sweet mint mingling seductively with cinnamon and orange, all accompanied by good conversation...and perhaps just a cat or two slinking around my ankles.

Iceberg

I may rock bow ties and silk neckerchiefs rather often, but there is actually a sneakerhead and sportswear fan knocking around that gets the occasional outburst. I really liked this look, especially the refined varsity jacket. Note the revers pressed to evoke the lapels of a blazer and the fact that it is merely the cuffs that are elasticated. The matching of the cuffs to the waist trim of the cable knit sweater was also a nice touch.

The trousers were simple but functional, and I was rather drawn towards the Lanvin-esque sneakers. I far prefer this style of sneaker to the more, shall we say, European style of the usual Jil Sander or Dior Homme (the latest Kris Van Assche designs notwithstanding) offerings. Personally I would love to wear this outfit with the metallic Raf Simons astronaut sneakers.

Currently playing: Why Don't You Love Me - Beyonce

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Sleepy evenings

Currently playing: Árvas - Sofia Jannok

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Ready For Summer

1. Chest containing Liberty fabrics and quilting equipment
2. July/August edition of Monocle
3. Fine stripe blue linen blend shirt
4. Grey cotton slacks with rolled hems
5. Grey jersey baby rib vest
6. Yashica Reflex J SLR with Kodak Tri-X 400 film
7. Navy blue canvas and jute espadrilles

Currently playing: In The Beginning - K'Naan (definitely a Summer track)

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There are certainly worse places to go running

Currently playing: Chemistry - UNKLE

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First Impressions: Part One

As regular readers will know I am not really one to jump to reviewing runway collections the moment they are showcased. I prefer to give myself some time to really consider each collection, although there are always inevitably those gut reactions one deals with. However I thought it might be nice to provide a brief series of initial reactions.

Yet rather than presenting collections one at a time with an initial commentary, I thought it might be interesting to pick upon individual looks that engaged me. No doubt you can expect proper reviews to come, however for now, these are a few looks from the ongoing Spring 2011 shows that I find interesting...

Burberry

Burberry's attempt at a Perfecto jacket? I tend to dislike leather motorcycle jackets which have that new sheen to them, the leather usually looks stiff and awkward. Yet the weighting of the leather on this jacket looks soft and light. I like the rather traditional play between the extended cuffs and slightly cropped waist, although the overall cut of the jacket is thoroughly modern.

The pairing with the soft jersey scoop neck and jersey trousers was interesting and provided a nice juxtaposition of elements. Motorcycle jackets to me tend to evoke a sense of harshness and strength, usually being slightly battered and worn with faded jeans and dusty boots. Comparatively jersey trousers remind me either of casual sportswear or lounge wear. There is that play between soft and hard, which was made all the more interesting by the apparent softness of the jacket itself. It had a clean finish which worked nicely against the plain clean cut jerseys.

Burberry

There have been a rather large number of loose Spring knits on offer thus far and Burberry sported their fair share. Vintage clothing stores actually stock quite the selection of loose knitted vests, polo shirts and sweaters this time of year for clearance prices, and the parallel was rather amusing to behold.

I really did like the look of the loose knit vest worn under the khaki jacket, especially when paired with the satchel. It had a militaristic quality, of webbing and khakis, that was somewhat romantic in a way. Of course Burberry's tailoring is always impeccable, and I did find the jacket very appealing. The trousers were again an interesting choice, with a softness that perhaps belied the rest of the look upon first glance. Yet the mirroring of the vulnerability of the loose knit upon bare torso and the soft draped trousers with reinforced knees was rather nice.

Canali

What would fashion week in Italy be without exemplary tailoring? I loved the cut of this jacket, with the gently sloped shoulders, tighter rolled sleeve head, lower cut arm hole, relatively slim revers, and a rather bold front line that was not cut away from the body. The flap pockets on the jacket were a good choice as they emphasized the more hourglass silhouette, adding a bulk underneath the nipped waist that paralleled that of the shoulders.

I particularly enjoyed the white buttons and folded white pocketsquare. I like the fact that only a sliver of shirt cuff was displayed, and that the shirt had a very soft collar that provided a flatter profile. The look would have been a wonderful suited look with matching trousers, however the styling with the tan trousers merely highlighted the mix-and-match quality of the garments offered within the collection. Personally the matching was slightly uneasy (perhaps a touch of pale blue was needed to break it up?), however it certainly looked good.

Canali

Again I found the cut of this jacket quite wonderful. I enjoyed the slightly longer sleeves and the silhouette with the tight shoulders and nipped waist. The styling of this look was rather interesting, and seemed perfect for a Summer weekend. Everything from the hat to the exquisite white-laced blue brogues had a casual elegance that was charming. I think the trousers worked far better in this look. The slightly low rise, longer seat and straight leg gave a casual yet smart feel to the look, indeed I feel that a cuff or rolled hem would have detracted from the finish.

Corneliani

Safari jackets seem to be making the comeback, and whilst I have yet to be sold on the idea (actually a few examples from certain collections left me slightly perplexed), this was one of the toned down few that I actually enjoyed.

The styling with the buttoned neck allowing the jacket to fall away provided a really nice line. The epaulettes and patch breast pockets added an extra impact to the upper half of the jacket allowing for a stronger, more masculine finish. Yet that strength was played against by the silk neckerchief, soft knitwear and the overall finish to the look itself. The loose, cuffed trousers provided a very casual feel to the look, and indeed there was a casual softness throughout that I really did enjoy.

Corneliani

I absolutely adored this look. From the chunky knitwear, to the silk neckerchief, to the lightweight trench, to the soft linen shorts, to the folded over suede boots, it was beautiful. The overall softness really did make it appealing, with the crushed linen and pushed up sleeves giving it a laid back and comfortable feel.

Corneliani

Again I loved this look. The combination of the loose linen rose-coloured trousers with the rolled hem and the soft suede slip on shoes was delightful. The shoes actually reminded me of the slip ons that Hiroshi Tsubouchi has designed for Monocle (click here) that I would love to buy...were the price ever so slightly more affordable.

Currently playing: Take You Home - Trey Songz

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There is always time for tea

Currently playing: Time - O'Spada

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Sunday Viewing: Traveling Denim

Film by Takayuki Akachi

I have a single pair of blue denim jeans that I wear every now and then.

This video makes me want to buy another pair...

...and travel the world in them.

Currently playing: So You Can Cry - Neyo

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Meow

Currently playing: If Rap Gets Jealous ft. Kirk Hammett - K'Naan

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A Lost Story

We are encouraged to think of time in terms of linear progression. One event follows another with cause and effect in constant motion. Whether it be through the division of time through individual life spans, decades, or centuries, time is a unit to be charted rather than experienced. Comparatively, history and the past are a far more complex and personal notion.

Walter Benjamin wrote that the past lay beyond the reach of intellect. It is something to be experienced - a fragment to be regained in some fleeting moment or flash. History relies on fragments and records. It could be the actual material object from a time past or a tradition kept alive. A story is remembered or experienced in some sensory mode, whether it be looking at something or hearing something, we can all attest to that moment which transports us to some past, even though it may not be our own.

Clothing has that rather magical trait of being able to convey a story or history, even if that history be unique for each person. The bodily experience of wearing a corset, or the feel of some tweed against your skin, or the nostalgic cut of a pair of flairs, or the process of buttoning one's braces, clothing can transport one to another time or indeed simply allow one to continue a tradition.

Clothing can also contain moments of the past and history through its very age, with wear and tear allowing it to convey some story to the viewer/wearer. It is odd to consider that clothing can signify a person even in their absence. I like the idea of material objects having a story to tell because I like the idea of having some sense of dialogue with the past. I suppose I am a romantic at heart in that sense.

The inevitable backlash against disposable fashion seeks out tradition and craft, however it can often be a mere surface recognition of that idea. It is for that reason that I dislike buying factory worn or distressed clothing. It seems odd to pay more just to have clothing that is worn in before it has ever even touched a body. I would rather pay more to buy a good quality garment that will stand the test of time and that I can wear in myself. It is far more personal.


Just like clothing can evoke some sense of the past, so can other material objects. I found these two hand embroidered postcards dated 1918 at the Covent Garden antiques market. I love the effort and skill put into their design by the senders (the cards came with a blank front envelope, which one then embroidered oneself). They seem so much more thoughtful than your average postcard and are pieces of art in themselves. I would love to be able to find out the specific stories behind their sending and the people involved, but as they stand they certainly provide a romantic piece of history.

I think I shall have to write some letters by hand this summer to send to friends. Sometimes you forget how personal a letter can be.

Currently playing: ABC's ft. Chubb Rock - K'Naan

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A dream once dreamt

Currently playing: Let My Home Be My Gallows - Hannibal OST

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Maison Martin Margiela: 20

I recently attended the Maison Martin Margiela 20th Anniversary exhibition at Somerset House, and whilst my fantasy of being able to see an actual photograph of the legendarily elusive Margiela himself was denied, the exhibition was still a fantastic experience. Unfortunately photography was not allowed within the exhibition, however I did manage to buy the exhibition catalogue which contains images of pieces and videos from within the exhibition.

Exhibition layout from booklet provided upon entrance

The layout of the exhibition is spread across three levels. The middle level becomes the main focus, as the upper level feels rather stilted due to the adjoining rooms which do not particularly flow well together. However that is more an issue with the layout of the Embankment Gallery at Somerset House than the curatorial decisions behind the exhibition.

It was certainly interesting to see how the use of space differed from that of the SHOWstudio exhibition last year. Whilst that was busy, loud and complicated, this exhibition was typically understated and clean following the Margiela aesthetic. The white walls and clean cut white furniture did not attempt to cloud or mystify the clothing in any way, but rather present them for what they were. Indeed throughout the exhibition the immediacy of the clothing was remarkable, you truly do get to have a close up look.


Although the lower and middle level were understated and whitewashed, the upper level was more of a show. Two columns with marker pens attached allowed visitors to scrawl messages. These columns gave way to a darkened room with white and silver confetti scattered heavily over the floor, music playing and various videos playing on three walls. The most interesting for me was the personal wardrobe videos projected onto the far back wall, in which three Margiela clients display their wardrobes as styled by them. The video room splits in either direction to reveal the interior design aspects of Margiela stores and shows, flocked silhouette outfits and XXXL designs (a sweater in Italian size 78 made little old 44 me feel rather diminutive!).

Exhibition catalogue

The exhibition catalogue was priced at a reasonable £20, although a pricier hardback version was available. Whilst it is comprised mainly of photographs which build upon the themes of the exhibition, there are also two fantastic essays by Kaat Debo and Barbara Vinken which engage with Margiela's work and the exhibition at a welcome academic level.

The Margiela ciphers explained

In a rather postmodern fashion the Margiela ciphers were actually chosen at random. There is in inherent sense of implied history and chronology through the numbering of different types of collections and I think that strikes at the heart of Margiela's work. There is a dialogue with how history is perceived in fashion, as evident by the Artisanal or Replica collections, which Margiela plays with. Indeed whilst the use of 20 for the collection implies the 20th Anniversary it also raises the idea of a 20th exhibition. As with his replica work, Margiela seems to suggest he has always been here, working and exhibiting year after year.

I think his painted work is perhaps indicative of his relationship with time and history. Clothing and footwear are whitewashed, meaning that as they are worn, the paint cracks and fades to reveal the clothing and materials beneath. It is an odd sense of reverse aging in a way, revealing the actual clothing beneath whilst in the same way charting the progression of time itself. Indeed Margiela's work always places a value on craft which is often unfortunately not always apparent in high fashion. Items such as those from his Artisanal collection are even guaranteed for life.

Show invitations

The various show invites were a treat to see. From a circled advert on a newspaper sheet, to a handwritten invite on a plate, to a hospital style bracelet, to a childlike painted cardboard invite, Margiela seems to constantly question the perceived notions of fashion. Gone are the luxurious invites, to be replaced by ostensibly insignificant found objects (mirroring his Replica work, taking on overlooked articles and reworking them for the high fashion market). There is a certain critique inherent in all of Margiela's work that is amusing to behold. I do wonder whether it can often be overlooked by certain peoples, however I suppose that makes it all the more relevant.

One can look towards Margiela's labeling of clothing as an example. His mainline pieces feature a simple white box with four white tacks. No writing or name appears on the box. Similarly his other work features white boxes with the run of ciphers, from which the appropriate number is circled. On his unlined garments one notes the four white tacks prominent on the outside of the garment. For those who know Margiela those four white tacks are instantly recognizable on just about any garment as being Margiela. Whilst Margiela makes the idea of branding and logos problematic, his alternative is still exclusive and elitist in its use. Elizabeth Wilson writes in her book Adorned In Dreams that fashion acts as the hinge between the elitist and the popular. Whilst Margiela's critiques often seem to place his work outside the elitist, his work is however implicitly tied to it.

(Debbie Swallow look-a-like for those who know)I absolutely loved this sweater from the Fall '08 collection and was rather excited to see it (and recognize it!) in the exhibition.

There was a certain lack of menswear, however given the relative small portion is holds within Margiela's oeuvre such a curatorial decision is understandable. I would have liked to have seen a few examples from the men's Artisan collection or Replicas such as the now staple German Army sneakers. Yet that perhaps would have focused too greatly on recent design rather than provide a true representation of Margiela's career as a whole. Certainly the curatorial editing throughout the exhibition was remarkable. It is hard to condense the work of any designer into a single exhibition, let alone twenty years of as diverse a designer as Margiela. What I found enjoyable was the fact that when going through the exhibition it never felt as if anything was really lacking.

The lack of menswear was not at the forefront of my mind when going through the exhibition, but rather something I thought towards the end. Indeed a curator will always have to edit what to display and what not to display, and it can often be the case that by displaying one thing, one inherently highlights the absence of another. Exhibitions and display are always a set of conscious decisions and compromises, so it was nice to see that whilst the exhibition was certainly broad in its aims and coverage, it still worked well overall.

Stephen Wells writes that our understanding of an object in a museum depends on the thought constructs with which we approach it. The curator can set up a framework for the viewer through a process of choices: how the layout works, how the display is configured, what information is offered the viewer. All these choices impact how the viewer is set up to encounter the objects. I liked the fact that there were no wall labels or written information around the exhibition.

One could certainly read the booklet provided for specific information, but I would prefer visitors to ignore that at first and engage with the displays and clothing without that information. Of course I did find myself looking at items that I recognized, and in more than one instance remembered the catwalk video or shot, but it was still nice to engage with the clothing without the initial distraction of a written blurb. How much can one even convey in a wall label? There is always the danger of lulling one away from viewing, and that is particularly the case with fashion, where many will immediately try to seek the 'meaning' behind an object before actually looking and appreciating it as a garment.

I think that is what I found so alluring about the Artisan display. Garments were presented in a wall behind glass, with windows lighting up individually in succession. This meant that the viewer only really has one garment to view at a time, and this allows them to really appreciate the craft and skill that has gone into creating each piece.


Placing such objects behind glass, and lighting them one at a time, configures the way the viewer approaches them. Karl Marx wrote that touch was the most real of the senses, whilst sight was the most illusionary. Unlike the garments mounted on mannequins which one could walk up to, placed behind glass these pieces were displayed like exalted rare objects. Lighting up one at a time, when they were otherwise kept cloaked in darkness behind the glass, provided an almost sacralized atmosphere. They were provided a new meaning distinct from wearing or the experience of clothing, to be viewed rather as art produced by hours of intensive and skilled labour.


The Maison Martin Margiela 20 Exhibition runs until 5th September 2010 at Somerset House in London.

Currently playing: Hey Daddy - Usher

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