couture week: jan taminiau

(images via vogue)

oh, children, i find myself scarce knowing what to do with dutch designer jan taminiau, if only because he seems to reinvent himself as a designer practically every time we encounter his work (see a/w 2011 ‘demi couture’, a/w 2011 hc, s/s 2012 hc), at one point being more of a classical couturier in the vein of, say, an elie saab, and at another showing work that pushes the boundaries between alexander mcqueen and his dutch contemporary winde rienstra. in short, it’s quite enough to leave this kid very confused as to his design identity.

well. and for the s/s 2013 haute couture season in paris, homeboy was up to his old reinvention tricks once again, showing a collection that, for all its beauty, felt poles apart from the more modernist, balenciaga-homaging (i kept thinking of the a/w 2006 collection) that we saw out of him last time around. no, today i was thinking more of classic christian lacroix in parts, as well as a bit of what the house of valentino is contemporarily up to in the couture realm these days. gorgeous, but are these customers really the same as those he was addressing the past couple of couture collections of his we’ve discussed?

but then, the critics seemed to like it, and that counts for something, continuity be damned (and sometimes i find myself wondering, for all the major critics contend that they’ve got the history…do they? i mean, surely they do for, say, prada or chanel, but when it comes to…well, nevermind, let’s to the clothes). so, said the blog eclectic society, the “presentation took place at the luxurious [Hotel d’Avaray] accompanied by classic live piano music. The catwalk was filled with bouquets of white and pink roses. The colors of the roses continued in the clothes, with tones of cream, peach, nude, gold and copper, with few exceptions of blue and green. Beaded embroideries, delicate laces, metallics and marble-like patterns decorated the gowns.  Musical references were shown in the actual collection as well –  fitted cocktail dresses were embossed with violin f-holes.”

and the french journal des femmes chimed in that the (trans.) “first influence [was] the volumes and aesthetic of the 1950s. The next [piece]…ke[pt] these dimensions enhanced with an air of Versailles with symmetrical and rounded stitching. The lace is then passing time with art deco. Dresses lengthen and thrive with black, yellow and gray embroidery…In a suit, pearls are one with the skin and shoulders are covered with a short jacket and voluminous beige silk, reminiscent overcharged frilly dresses ruffles at the end of the XVIIIth century. For the day, Jan Taminiau proposes a pale pink pattern and very fresh light on transparent capes, flying gracefully around a straight silhouette and released, as it was in the 1930s.”

and finally, according to the fashion list, the spring collection was “inspired by the colorful cultures of Africa and Uzbekistan. Fusing the two together, unexpected graphic patterns contrasted the off white base tone of the collection. Embracing the idea of color, Taminiau applied small increments like green pompoms, and also more dramatic statements with tulle collars, and giant hoods that the models removed for the cameras so they hung, bouncing, over their backs. The ruffles and diamond patterns, in ultimate contrast from linear to organic, brought together traditional ethnic crafts and the techniques of haute couture.”

“The controlled frenzy of tulle sculpted into hoods and into full dresses whose volume was shaved in under the bust or at the waist to accentuate the form underneath while altering the overall outline of the block color form,” they continued. “In contrast, the diamond patterned velvet, beading and Ikat embroidery helped define the body trough changes in scale and directionality. Combining the two ends of the spectrum in an off white gown with fuller tulle on the bottom, shaved down into diamond shapes moving up the body to a final moment of color across the strong square shoulder.” yes, truly, the collection was lovely, and it was supremely wearable. so was that enough? i’ll guess we’ll have to wait to judge by the aesthetic of next season, then, yes?….

(see the catwalk finale video here)

couture week: jan taminiau

(images via team peter stigter)

opt has had a fleeting relationship with dutch designer jan taminiau, covering his work now and again (see the demi-couture for a/w 2011 and haute couture for a/w 2011), and though we’ve seen him go through several incarnations, he seems to have finally settled, after several ‘pretty, but inoffensive’-type entries, on something a little more avant-y and theatrical, as if determined not to be ousted from the title of ‘most daring dutch designer’ by iris van herpen, who is also these days showing at couture week, and who we’ll come to in time.  but for now, mr. taminiau’s s/s 2012 haute couture collection is up for discussion. 

anyway, team peter stigter explained that the show, titled ‘tarnished beauty,’ was ” designed to elevate women.”  then, presumably quoting mr. taminiau’s press release, they write, “(i)n the world of Jan Taminiau  beauty is more than a twinkling armor that protects us from reality. It is a hedonistic refuge that keeps the world outside. Real beauty comes alive when people open themselves to each other. Ultimately, the army descends and the masks go off.”  meanwhile, the dutch site nu enthused that it was a (trans.) “collection designed for women on a pedestal. Taminiau put down an army of models in feminine, colorful and extravagant pieces which are fragile, delicate fabrics. At the end of the show the models – including the Dutch Kim Feenstra – put their ‘masks’ on to show that beauty can be both endearing and hopeful.”  

meanwhile, elle made a nice commentary on the juxtapositioning of (trans.) “glittery armor elements – that keep the harsh realities at bay – and the delicate fabrics,” while the dutch site elsevier chirped on about (trans.) the “(e)specially striking shoes with platform soles and an exceptionally high floating heel,” with footwear seeming to be the designer’s preferred standout item these days.  actually, i did quite like the shoes, as i did the pale springy colour palette, which included lovely shades of peach, tiffany blue, beige, and silver.  however, overall i found things a little less compelling than last time around, particularly as the notion of motorcycle helmets has already been done at least once with evening gowns—at viktor & rolf’s s/s 2005 show, if somewhere else i can’t recall at present. 

in the end, i suppose we all know where mr. taminiau is headed—elsevier notes that lady g has worn his clothes, and frankly, we all know what that does: the lady g-ificiation i spoke of last couture season, which, in essence, i feel means a designer will cling to things more outlandish in lieu of moving on, simply because s/he has been branded a ‘lady g designer’.  and i find it too bad, too, because if one took away the helmuts and some of the obscene sparkle, i think we could find some lovely frocks underneath.  mr. taminiau is, no doubt, talented, but i’d like to see him free to explore his creative unrestrained, in an arena that welcomes some of the quieter and more demure designs as well as the ostentatious ‘over-the-top’-style pieces.  ah, well.  he’s on his way now, so we may as well step back and hear the absurd, loud comparisons to mcqueen begin…

(see a quick bit of video here)

couture week: jan taminiau

(images via peter stigter)

i’ll try to be honest here and point out that one of my (perhaps) flaws is my fleeting patience with the self-congratulatory fashionie-type, of which my previous encounters (see f/w 2011 demi-couture and a piece from sarajevo some time ago) suggest dutch designer jan taminiau is one.  however, whatever eye-rolling i may do with regards to his salesmanship tactics, i must admit the man has talent.  and it’s with his latest collection—for f/w 2011 haute couture—that we see it to full effect. 

alternately titled ‘extends nature’ and ‘honor to women’, the site glamour goddess fashion (yes, we’re back to that noise) described it as “inspired by the changing proportions and adjusting reality.”  meanwhile, the designer himself noted to the telegraph, “With her timber legs, she moves slowly through the wood. She is inwardly strong, walking with her head up, proud of herself.  Playing with new silhouettes – which is where the staggering five inch cork platforms came into it – alters the body verticality (sic).” 

more avant-y than any of his previous incarnations we’ve taken a look at, mr. taminiau used a particularly diverse array of materials that included those traditional to couture and some more unexpected—fluttering chiffon, silk, and sequins played against real gold and cork.  the soft palette stayed somewhere within the realm of a sunrise (, sunset) with colours ranging from pale skin tones, to silver, gray, aubergine, and lilac. 

the pieces were quite sculptural in their construction and almost victorian in bearing—high necks, ruffles, rosettes, structured shoulders, and sweeping hemlines that usually fell to the floor characterized his short range.  however, there were some elements of flashier sensuality apparent in numbers that suddenly, dramatically cut away to reveal a long expanse of skin—on an arm, a thigh—or the skintight romper-like creations that closed the show. 

perhaps the most intriguing element of the show, though, was that, in spite of the loud footwear and several strange flights that the designer briefly alighted on, many of his creations were simply classic, beautiful and wearable as anything that might find its way to the red carpet (as below, top).  it seemed a rather clever ploy, some of the more theatrical moments, though it quickly came back to that which the couture customer is so enamored of—a purely beautiful dress. 

no doubt, unfortunately the designer will get the most play for the footwear—the telegraph used a certain lady’s name at every turn in a transparently seo-driven ploy—but whatever else, we should perhaps reflect on his ability to sculpt fabric so intricately and marvelously that maybe yet another pair of statement shoes isn’t really worth our primary focus.  and let’s hope he remains here, in this vintage land, rather than the flippy, predictable dresses we’d last seen from him in amsterdam.  it would seem dramatic ballgowns are his forte. 

(see the runway finale video here)

amsterdam fashion week: jan taminiau (demi couture)

(images via peter stigter)

we’ve seen the slightly self-impressed jan taminiau’s work before (then at sarajevo fashion week), but the dutch designer was back in his home country for the launch of his demi couture collection for the a/w 2011 season. 

anyway, although homes launched his namesake label back in 2003 (to “glowing reviews”, he informs us, no less), this is the first we’re getting to see of “demi couture”, which will require a single fitting instead of the customary four to six.  as you can see, there are a lot of day and cocktail looks present amongst the collection as well, leading to something more comfortable than, say, a dior haute couture creation. 

apparently this collection also boasts a mix-and-match element (you’re really getting your money’s worth for this lot!), ensuring that, yannow, if you want to buy, like, the whole collection, the pieces can be worn together.  (i’m not exactly clear why he chose to throw that bone in; not only are all collections tied to a general vision, lending the ability for garments to be shifted and worn with one another, but usually the selling of couture doesn’t include the same bargain tactics as a used car.  will he throw in a coupon book, as well?)

nevertheless, there were some pretty, smart looks here.  the designer seems to have taken a page from the new valentino, catering to a younger girl with better things to do than attend the wedding of her fourth cousin (twice removed) to a lady whom she’s never met, yet must show up in a dress priced approximately the same as a fanciful upper east side loft (that, after these few hours, will never see daylight until she donates it to a museum).  she likes to show off her legs and body, which doubtless, is a nod to celebrities and celebrity-types, and is probably wise.  i wish it had a bit more sass & spice, but after all, this is only a demi-effort. 

sarajevo fashion week: jan taminiau

(images via sfw)

jan taminiau is a dutch designer who obtained a master’s degree at the academy of art in arnhem, worked for olivier theyskens, and designed a window display at colette in paris.  (i honestly don’t know what the ado about the last two are, but fashionies, like, die if you mention them, thus i’m putting links for you to educate yourself.  feel no need to feel the love if it’s not there.  i think fashion’s too pretentious on this point.  digression!)

anyway, after such raging success, he launched his own couture collection in 2003, vacillating between paris & new york, fabulous-fabulousness that he is.  a pret-a-porter collection followed in 2008.  he finds his inspiration in antiques, interior design, and old-world craftsmanship of clothing. 

don’t get me wrong, for all his self-congratulatory website demeanor, i do like the clothes depicted here quite a lot.  they have an enticing mix of vintaged-contemporary about them and nice work with fading colors, kind of like those old victoriana books with flowery borders.  anyway, apparently it’s okay to like him as he “received glowing reviews from leading international fashion journalists”, okay? 

his lovely work speaks for itself and has a charming aura of french-ness that isn’t quite so stereotyped.  nice.