toronto fashion week: joe fresh

(images via front row mag)

so although it has taken me a little longer to get started addressing toronto fashion week than i would have liked (though i wanted to finish up our discussions of a couple of other events first, before turning to this one), i guess the good news is that we can give it our full attention now, and it seemed like the right thing to do to start things off with joe mimran’s eternally cheerful joe fresh label!

although the brand is by no means the kind of haute fashion we’re accustomed to discussing on this site, i actually think, what with the well-known canadian models (this time around, however, save for a few girls like heather marks and meghan collison, the cast was a lot less flash than it had been in seasons past, leading me to wonder if maybe they feel the clothes are now doing enough of their own talking) and playful displays, they hold up pretty well for what they are.

anyway, in seasons past (see s/s 2012, a/w 2012, s/s 2013), we’ve been pretty accustomed to seeing the designer liberally mine the sixties for inspiration, so for his a/w 2013 turn down the toronto catwalks, i was a little surprised to learn that he was drawing on a different decade–toronto life explained that “Mimran took inspiration from the Parisian jazz scene in the early ‘90s (specifically ‘that chic French girl whose style was so effortless and cool—the early days of street style’). The overal effect was starkly monochromatic, with only two blue pieces breaking up an otherwise black and white show.”

and summing up the catwalk proceedings, the toronto news website the star relayed how “(t)here were knit sweaters in traditional French sailor black and white horizontal stripes, trim trousers sometimes embellished with dense crystals, and a tuxedo pant with a faux patent stripe down the outside seam. A degraded nighttime skyline print appeared on dresses. The collection was also tough, with black motocross jackets. Mimran also credits the ‘word artist’ Despina Stokou for his inspiration to use phrases and letters to elevate inexpensive fashion into a work of art.”

meanwhile, as style bistro opined that it was “a tomboyish aesthetic that at times channelled a modish 60s ingénue and at other times a sexy rock ’n’ roll femme,” the likes of front row mag trilled that “(t)urning the Canadian tux on its ear, the ever-expanding label showed studded and crystaled denim with a rockin’ chambray shirt in matching detail. One silk column printed dress, (that went from print to ombre through the bottom) stood alone among the chains, sequins, faux leather and fur and zippers galore, and of course the JF orange soled booties, heals and loafers.”

“Continuing with the edgy nineties mania that’s carried through so many lineups this spring and fall,” stated the canadian fashion magazine, “Joe Fresh updated tough girl favourites including the motocross jacket, which appeared in a palate-cleansing white, the studded pant, which appeared on faux-leather, denim and wowza velvet, and the laser cut, which breathed new life to the classic slim pant. And while some pieces, like a white faux-leather jacket completely covered in studs, left us wondering if they were too luxe to ever reach the selling floor, others, like a skull and cross bones T-shirt, left us wondering if too much of the selling floor was brought onto the runway.”

and, finally, according to the vancouver sun, the designer “cited [Malcolm] McLaren’s 1994 concept album ‘Paris‘ as a source of inspiration for the largely black and white collection, which sought to deliver a modernized spin on styles from the ‘60s, ‘70s and ‘90s. The fall-winter line prominently showcased two contrasting sides of womenswear with dainty, feminine fashions interspersed among tougher, menswear-inspired styles. Headscarf-sporting models donned the more demure designs, which encompassed two-piece knit sets, sheer, polka dot blouses, sequinned shifts, ruffled silk tops, laser-cut neoprene and sweet, pleated skirts. But it was the edgier looks in the collection that were the standouts — and extra-heavy on embellishments.”

(see the fashion show video here)

paris fashion week: chanel

(images via style)

yes, finally! we’ve come to the place in time (and this is a great good thing, because as i’ve alluded earlier, we’re quite close to many, many new events commencing) where we can say goodbye to paris fashion week, and in lieu of closing with jean paul gaultier (as i tend most seasons to do, but this time we saw his a/w 2013 collection a couple of days ago, surprise!), it seems like the right thing to do to say our farewells with an excellent a/w 2013 collection by perhaps the most anticipated house of each season…chanel!

although admittedly, i’ve said in the past that i in general root for karl lagerfeld’s work as a designer, but we know over the seasons there have been some bumpy ups-and-downs (see a/w 2010, resort 2011, s/s 2011, pre-fall 2011, a/w 2011, resort 2012, s/s 2012, pre-fall 2012, a/w 2012, resort 2013, s/s 2013, pre-fall 2013), but nevertheless, he usually triumphs and reminds us in general of why he’s awesome, which is what we got for the upcoming winter, with its salute to the iconography of the house, something that felt just right.

so! are you ready for some critical commentary? to start things off, us vogue related how the “Chanel army marched on to world domination to the sound track of Daft Punk’s ‘Around the World‘—and his ideas moved as fast and furious as they did. From their colored mink cloche hats cut like Louise Brooks bangs to their second-skin thigh-high boots garlanded with heavy metal hardware, they were moving billboards for Lagerfeld’s passion for emphatic lines, sophisticated embellishment, and his relentlessly fertile imagination.”

then, style opined that “(b)ouncy confidence hasn’t always produced convincing Chanel shows, but here there was a sepulchral undercurrent that was utterly seductive. The globe was dark, as though night had fallen on the world. The clothes were dark, too. And lean: a favorite silhouette fitted to the hip, then flared into a short skirt over leather cuissardes (so much better-sounding than their literal English translation, ‘waders’). The other key shape was equally streamlined, cut high on the thigh at the front, dipping to mid-calf at the back. This mutant redingote had a slightly libertine flair, which felt more Karl than Coco.”

“Karl Lagerfeld sent models swirling around a gigantic light-up globe with interlocking CC logo flags dropped in to the brand’s boutiques around the world,” explained fab sugar. “Chanel’s iconic tweeds turned up in boxy jackets with rounded shoulders over matching miniskirts, while the famous quilted bag got an update with an open-ended handle. Nighttime came in layers of sheer black over chain-laden boots and globe-shaped minaudières. From the folders filled with photos of the collection by Lagerfeld himself to the enormity of the set, there was a precision and an attention to detail that one can only expect of a house like Chanel.”

and as they reflected that the aesthetic was “(s)porty and sweet. Coco Chanel’s classic design codes reworked into pieces that touched on many of the themes we have seen on other runways this season. Mannish, oversized coats…The classic tweed jacket remade as fringey tunic, and worn over a hoodie for a streetwise edge,” the la times ultimately decided it was “packed with commercial pieces. Even if the show wasn’t quite as transporting as some of Lagerfeld’s recent collections, he always manages to tweak things just enough each time to keep Chanel fans coming back for more.”

elsewhere, the fashion spot stated that “(o)tfitting its runway was an enormous glass dome of the world illuminated by CC markers corresponding to points where the brand is sold around the world. Fitting for a brand that reaches so many countries, the lineup included some 80 looks, many of which had futuristic tinges to them — think structured collars, helmet-like colorful hats and boxy shapes. Youthful appeal was added via flat boots (granted they were thigh-high and covered in chains), pleated skirts and a variety of outerwear done in a mix of fitted and slightly voluminous silhouettes.”

and according to the washington post, “(t)he show’s 79 varied looks brimmed with ideas, classic and new, and showed that the designer who turns 80 this year is still a creative force to be reckoned with. Models, including Stella Tennant, walked around the circular globe runway sporting stylish new winter concepts in tones of blue, gray purple pink and black. Zippable leather leg sheaths — like leggings that start at the thigh and ends at the ankle — were warm but allowed thighs to be exposed. And coat silhouettes were cut away squarely in the middle of thighs so legs are visible even on those cold December days.”

“In the season of the coat,” noted showstudio, “Lagerfeld’s came in crafty, shimmering tweeds in greys and petrol blues, with relaxed rounded sleeves and hemline and cut-away at the front to reveal the patent leather multi-chained knee-highs that acted as the base of every look. This dissection worked with a flippy skirt cut-away at the sides to reveal the leg, offering both movement and a glimpse of skin. The designer’s main proposition was simple: those knee-highs, a short and pleated skirt with a curvy tweed top or jacket on top and a frilly white shirt poking through. Easy.”

meanwhile, the daily beast offered that “(s)pectacular as the sets can be, they often take away from the clothes — but this season there was as much happening on the runway as there was in the background. The house’s signature tweed was featured in almost every look, and looked great when layered with other knitwear and weaves, and the ladylike skirts and dresses were contrasted with black biker boots that had Chanel chains, and were worn with black or white leather spats that finished mid thigh.”

and according to fashionologie, it was “a strong collection that capitalizes on the DNA of the brand while hitting all the right notes for the season. Jackets had the de rigeur rounded shoulder and boxy shape, while high hemlines skimmed the leather of thigh high boots. Footwear took on a tough edge with chains strewn across the front, and there were endless varieties of the iconic Chanel bag — some familiar, some brand-new. Based on this collection, we might see some new dots on that globe come next season.”

“This time around,” said grazia, “the monochrome palette famously beloved by Gabrielle (Coco) Chanel herself loomed large. The boucle wool jacket came in those shades. It was especially sweet cut in a youthful trapeze line and paired with a skater skirt and more grande bourgeoise belted and with patch pockets. The little black dress looked equally cute with crisp frills at neckline, hemline and sleeve. Layering is key to the Chanel look for the forthcoming autumn: skinny trousers or leg warmers were worn under skirts, arm warmers and shirts under jackets.”

then, wwd weighed in that “there was nothing gentle about this single winter garden, or anything else in Lagerfeld’s lineup. These clothes worked the sturdy side of allure, and only a handful of evening pieces interrupted their face-the-elements bravado. Lagerfeld even gave his girls an aggressive edge with hardware-enhanced boots and gloves. Global domination is a tough pursuit. Karl wants his brigade armed and ready to flaunt Chanel’s mantle of chic.”

and fashionista rattled on that “(i)t’s impressive how, season after season, Lagerfeld manages to deliver nearly 80 looks that satisfy not only Chanel’s longtime customers–the ladies who lunch of the world–but also the fashion-savvy teen who aspires to wear Chanel. As we’ve seen with Saint Laurent, it’s a rare feat for a brand to pull off–but Lagerfeld does it again and again.”

elsewhere, there was art info, clocking in that “(h)ighlights were coats in heavily constructed tweeds, sometimes lacquered, glazed or quilted, and cut out or open in front to reveal leather-clad legs and thigh-high biker boots. Skirts, when short, were fluted or pleated, and peeked out of oversized knits or the turned-back hem of a jacket. Others were longer and bell-shaped, but opened in the front to the same effect. Textures and patterns varied from nubby tweeds in shades of gray, black and inky blue to multi-colored and variegated knit suits.”

“One patent leather combo was striped with white lace that had been trapped in place by its plastic veneer,” gasped elle, on the subject of statement looks. “Another was a dramatic coat made entirely from embroidered monochrome flowers and possibly feathers – no doubt executed by les petites mains at the Chanel-owned workshops, Lemarie and Lesage. But it was hard to see the exquisite craftsmanship, the audience being seated so far away from the action on this epic set, itself proof of Chanel’s world domination.”

and fashion week daily shrieked that “(a)n updated take on the classic Chanel skirtsuit was especially appealing, this time crafted with an A-line skirt slit up the center and twinned with your choice of topper—a tweed or leather jacket with an enlarged collar, amplified sleeves, or both, if you please. And in case you thought you were seeing things, there really was a petit transparent globe purse dangling from a string of pearls on one mod, which could only signal one thing: Lagerfeld really does have the whole world in his hands.”

then we heard now fashion thoughtfully proclaiming that “There will certainly be many who will see this set as a not so subtle way of the brand making a reference to its world domination of some kind. But as the show began to unfold it wasn’t so much about Chanel dictating its vision to its fashion followers but rather how the brand caters to a global market. That each flag planted on the globe wasn’t so much about staking clam but rather how the house adapts and listens to the different needs of its customers depending on who they are and where they live. There certainly was something for everyone to love on the circular catwalk where, on two rings circling the globes, Karl Lagerfeld sent out seventy-nine different looks.”

my favourite droll critics, the telegraph, relayed how “(a)pproaching the models’ equators, we moved onto the main event: bouclé. This textured, satisfyingly tactile circular yarned wool is the key Chanel material, and while this season Karl Lagerfeld amplified his silhouette a notch – arms were roomy, necklines generous, and miniskirts kicky – he stayed wisely true to the worldwide legion of women who love this brand’s peerless tailored jackets and skirt-suits, by presenting plenty of them. They came in black – lots of them – followed by some tweedy black on white or wefty reddish variations.”

“Beyond bouclé,” they pattered along, “was a flattering dress of vertical pink florals on navy, drop waisted and mid-length, teamed with a deeply sophisticated navy cardigan and heavy chain jewellery. Two extraordinary outfits – one a trouser suit, one a dress – came encrusted with barnacle-like clusters of hard monochrome flowers. Another oversized skirt jacket combo had white Etch-A-Sketch arced patters on black. Accessories included little globe clutches bags on chains and fetching but furry aviator caps. It was an enormous, irresistibly impressive collection of almost frightening design might.”

in one of the more fully sycophantic (and even though i liked it i think i can say this) veins, we heard uk vogue insisting that “(a)nd if the world did turn on an actual Chanel axis, it would look a little something like this: high collars on tweed aviatior coats; fluffy pink and teal hats to match; chain-enlaced biker boots or glossy patent styles riding high up the leg to meet a mini or pleated skirt; more coats in pink and black and either belted or cocoon-soft to reiterate the streamlined and aerodynamic shapes that were the focus here.”

in the end, there was the guardian, wryly closing out with the paragraph that “Lagerfeld himself made cameo appearances woven into the catwalk persona, as he always does. This season he was represented by the leather leggings and by a staggering variety of fingerless gloves. One pair had the tiniest of windows cut into the leather over the fingernail, the better to showcase the latest brand of Chanel nail polish – a rich red called Accessoire, a bottle of which was handed to each show attendee in a beribboned Chanel bag. The devil is in the detail, and Lagerfeld is not one to miss a trick.”

(watch the entire show video here)

paris fashion week: yves saint laurent

(images via style)

even though i like a good snark as much as anyone, and i’m usually the first to be clapping my hands in diabolical glee when confronted with the latest yves saint laurent (yes, i refuse to change their name until i know how long hedi slimane is to last. so all the evil hasn’t purged my soul yet, apparently) debacle for the a/w 2013 paris fashion week show, i have only to say this: i liked the clothes. they were fun, and there’s really nothing about grunge i don’t want to embrace. but (and you knew this was coming).

i agree they have precious little to do with ysl, and i’m not going to be like the fashionies, passive-aggressively assigning the blame to someone i ‘overheard’ at the show (read: one’s own inner voices). as i’ve said about countless other houses, from versace’s latest punk exhibition (a/w 2013), or when balmain tried equally to channel punk (s/s 2011), or balenciaga the ‘street’ (also s/s 2011), i wasn’t on board. i don’t like when designers try to sell the clothes of the kids (that they get at, like, thrift stores and from free boxes) to their parents, the fashionies thinking ‘cool’ is something one pays the highest bidder for.

but we’ve discussed all of this at length recently, during the versace show, and i really don’t have a lot of new thoughts here. it looks silly when grown women try to look like street kids, and i’ll leave it there. that, and i think we all know that ysl tends to be a much more upscale house than any of this nonsense (see resort 2011, a/w 2011, resort 2012, s/s 2012, a/w 2012, s/s 2013), and even mr. slimane appeared to understand this with his last collection (also his first for the house). in other words, a brand known for le smoking probably oughtn’t look so much like it is currently fetishizing live through this-era courtney love (though, say, anna sui can!).

and one more thing, before we move on. yes, these clothes were eternally cute, and wearable, and i have no problem with the way so many designers have been bringing singles‘ janet livermore back to life (i’ve also seen vestiges of her in nicole miller’s a/w 2013 show, and kinder aggugini’s s/s 2012), but we all of us know how cheap these clothes can be, and it’s kind of an insult to anyone with a brain to think that paying well into the four figures is the right way to go on this.

that, of course, and then there’s the point, as many, many a critic made back during mr. slimane’s ysl debut for the spring season: this fundamentally comes down to a styling exercise, rather than a design one. now, i think we also all of us know that this is primary what mr. slimane is about, but this seems to be the way of the future for the high fashion houses these days: hire a celebrity, er ‘designer’. and it’s something ppr and lvmh love to do. they know they’ll shake things up, and appeal to women with deep pockets, even as they’re bypassing most of the creativity that used to go into this stuff.

now. i didn’t always, like, love stefano pilati, mr. slimane’s predecessor at the label, but i will grant that he took risks, shook things up, and refused to simply lie down and let the current trends do the talking for him, which ultimately resulted in some amazing collections (and let’s be real, no one can replace the irreplaceable tom ford. at least not these days). so! to recap, yes, the clothes are painfully cute and cool, and yes, we’d probably like to own everysinglebloodypiecehere, but is this where we envisioned ysl for the future? really? but maybe we ought get used to it, as i expect mr. slimane is about to make mr. pinault some serious cash monaaaaay.

alors. now for the critical portion of our hour! straight out of the gate, style assessed that “anyone expecting the frisson of the future that Slimane once provided would have to feel let down yet again. At the odd moments when he allowed it to happen—as in a cutaway jacket over a plaid shirt over slashed black leather cuissardes—there was a glimpse of the kind of rigorous sensibility that hybridized passion and fashion into an irresistible force at Dior Homme,” as fashion week daily noted that “the rock ‘n’ roll road trip left the essence of Saint Laurent dangling in the rearview mirror for a barrage of hotpants and dom-inspired leather minis that aren’t exactly sales fodder for longtime YSL devotees.”

meanwhile, us vogue a little too sweetly declared that “(g)Grunge chez Saint Laurent certainly has shock factor—and Yves Saint Laurent was, of course, the designer who managed to épater les bourgeois with his Mod biker chicks at Christian Dior…but his work was always shot through with innate class, and this collection—doubtless luxurious in the hand and elegantly merchandised in the showroom—looked at times a little too contemporary market on the runway,” as grazia protested that “(i)f this was a determinedly youthful and accessible collection that belied the fact that the attention to detail that bourgeois French fashion is known and respected for was in evidence also.”

and then, art info gasped that “(o)riginality may succumb to old tricks for SL by HS, but it’s consciously hanging on by a thread, and there’s definitely a biting commentary underneath all that commerciality. We’re excited to see, if and when that voice amplifies, what it can achieve,” while wwd perhaps offered the best-yet poke: “Few archetypes are more engaging than the undone girl, especially when under her ratty hair, pout, pounding gait and sloppy chic lurk a pretty face and skinny body. But is playing a cutesy, disaffected-youth hand enough to propel the house of Saint Laurent into today’s luxury stratosphere — especially if the targeted air space is that in which Chanel and Dior reside? That, too, remains a question.”

and more succinctly, the telegraph sniffed that “he needs to have more faith in the enduring allure of beautifully engineered pieces – and riff on them some more next season. Neither he – nor Saint Laurent – requires the styling tics of a 20-year-old teenage music revolution,” and elle chimed in with their sycophantic “(w)as this a brilliant collection? Yes. It defined the moment. Will it sell? Probably, very well. Is Hedi Slimane turning Saint Laurent into a modern woman’s go-to brand? If you’re cool enough.” ahem. yes, a popularity contest. that’s what ysl is all about. i can see the namesake pouring worms over his corpse as ppr rubs its hands in glee.

ahem. well. refusing to really tell us his own opinion, the nyt‘s eric wilson relied on ‘overheards’ before finally coming to point (sort of) and stating that “(t)he dresses were universally short, often black leather minis, worn with fishnet body stockings studded with crystals…Many editors present did not appear to be in love with the concept, but there were many pieces that looked commercially lucrative at the same time, like fuzzy tartan cardigans, a black tuxedo jacket, an oversize sparkly black cable-knit sweater, a gray duffel coat and another take on the gold sparkly cardigan jacket. The connection of grunge to Mr. Saint Laurent was less clear, though he did once produce a fragrance called Baby Doll, and a pink fur coat in Mr. Slimane’s show seemed a nod to a famous fox coat design of the early 1970s called the ‘chubby.'”

elsewhere, the guardian gave an analysis that wonderfully called out some of the biggest problems in fashion journalism before turning a little more direct and announcing that “(i)f you haven’t seen the collection, it basically looks like a jazzed up rail of Morgan from the 1990s, with grunge-style little dresses, skirts and tartan shirts. All a far cry from classic Saint Laurent style, to be sure. And guess what? People hated it,” as uk vogue fully wimped out: “When dissected there were some nice pieces but altogether it will be a hard collection for the traditional Yves Saint Laurent buyer and customer, so different is the output now that it’s Saint Laurent. And as Saint Laurent it’s very much Hedi’s take, which is youthful and a certain type of cool to the core.”

then–finally–there was the uninvited cathy horyn of the nyt, insisting on doing her part by informing us that “(o)ne of the first things the new designer, Hedi Slimane, did was to remove ‘Yves’ from the label, thereby severing a symbolic connection to the founder, and everything he stood for, like good taste and feminine power. But it was also a test of the label’s enduring appeal…Many people said the clothes looked like stuff sold at Topshop or a thrift store, while others defended Mr. Slimane’s approach and identified pieces, like a pink fur chubby, that relate back to Yves’s designs of the late ’60s and early ’70s, when he got ideas — say, for a pea coat — from the street. It’s doubtful that customers will make that connection, but such comments serve to validate what Mr. Slimane has done. And the controversy is good for Saint Laurent. But mainly it was clear to me how strong the name is. In terms of design, the clothes held considerably less value than a box of Saint Laurent labels. Without the label attached to them, Mr. Slimane’s grunge dresses wouldn’t attract interest — because they’re not special. But a box of labels is worth a million.”  shaazaaam!

(watch the full fashion show video here)

paris fashion week: balenciaga

(images via style)

i’m choosing to go the route of pleasantly surprised with regards to alexander wang’s a/w 2013 paris fashion week balenciaga debut–that doesn’t mean i think it’s a balenciaga collection, or that it does the kind of justice that the house heritage deserves, but nevertheless, if this show had manifested under a different name on the paris runways, i’d probably have mostly pleasing things to say about it. yes, really, and i’m admitting some hardcore bias here, so perhaps you should just clap me on the shoulder, and let me move on about my day. okay? great!

anyway, as you can probably imagine, the critics all decided to shriek, and shuffle, and all that jazz, but anyway, we’d probably be best served to remember two things: 1) that mr. wang, with his eponymous label, seemed to have them in his pocket from the word ‘go’ (as to how some designers manage this and not others, i’ve yet to figure out, but i’m sure it has to do with some kind of behind-the-scenes connections or money–see rodarte and christopher kane–and no, you’ll not talk me out of that one). and

2) that since always (at least, as far as i’m concerned) they’ve been in the (ahem, ppr, ahem) pockets of whatever balenciaga has done (see a/w 2010, resort 2011, s/s 2011, pre-fall 2011, a/w 2011, s/s 2012, a/w 2012, s/s 2013). and yes, you can tell me alllll you like about how great a designer nicolas ghesquière was, and maybe you’re right. i mean, i loveloveloved the a/w 2004 and s/s 2006 collections, as i did the aforementioned a/w 2010. but–ahem, ahem–did you see the a/w 2006 show? can you tell me why kids were in such a hurry to trot out those, like,enormous helmets?

or that bleeding german shepard sweatshirt that we talked about from the pre-fall 2011 show?  i mean, seriously, there were times i wondered if homeboy visited a trailer park to get ideas whilst snickering at whether he’d get the fashionies to swallow some of this dreck. but none of this is new. i’ve wondered all of it before. simply put, however, i think that a lot of these critics have alliances we know nothing about (or merely suspect), and i think the likes of ppr and lvmh are much better placed to create them. hence…the sometimes inexplicable love.

but right, on the subject of mr. wang’s debut. i must allow that there was some lovely tailoring and construction and work–but i think we know the house of balenciaga probably has some of the best craftspeople in all of the world, creative directors aside–and many of those prim little black pairs of trousers worn with the smart tops that ended just around the navel line (a shakeup from the decidedly cropped or longer versions that have been pervading of late), such as a slightly cropped pant-and-matching boat-necked black shirt on fei fei sun reminded me of raf simons’ work at christian dior–he’d been pushing those looks for his a/w 2012 & s/s 2013 haute couture and s/s 2013 rtw collections.

but i think i’ve said enough, and lest we run out of time, we should listen to the critics, yes? and so, “(f)rom what we can see – the front only – this looked like a powerful, controlled, blisteringly modern collection with just the right quotient of reverence for the master’s work,” offered elle. “Not the sporty vibe one might have expected from Wang, but the polish and chic of a designer beyond his years. It was cut almost entirely in monochrome. He opened with a black coat, with rounded sleeves, a simple silver bar-like safety pin at the neck, skinny black trousers and shiny flat black boots that echoed the neck with silver fastenings  – undoubtedly best sellers in the waiting. As were the second-skin suede boots that reached over the knee and the single bag style, in black and white – a petite, boxy number, framed with a handle.”

and us vogue shrieked that “Wang had wanted a ‘statuesque, monolithic feeling,’ and looked to reinterpret the idea of marble in a number of inventive ways, from the black velvet traceries on organza to the chunky teddy-bear shaved-fox intarsia. Skinny ribbed knits were painted with a gesso effect that covered the surface with an interesting craquelure effect; self-colored piping was embroidered onto a textile’s surface like free-form scribbles, and silk was blistered to resemble a dish full of pearls—or caviar. It was a thoughtful, pragmatic collection that carried the promise of an intriguing new direction for the house.”

meanwhile, style declared that “(s)ome in the audience said Wang’s collection didn’t have the shock of the new that even Nicolas Ghesquière’s earliest shows for the label did. That may well be true. But if the silhouettes hewed closely to the house’s rigorous lines, Wang fused technology and technique to come up with compelling new textiles. The cracked, paint-spackled mohair knits were some of the best things on the catwalk; they made for a nice metaphor, too, about the promise of a young designer ready to break with the past when the time’s right.” hmm. nice way to blame it on others “some in the audience…” this just confirms my point about all that ppr cash money. ahem, yes, er, rather…

anyway, elsewhere, according to grazia, “the designer must be congratulated for bringing much of his own sensibility seamlessly into the collection…There were few vivid or kitschy stand-out pieces – save the blogger-worthy stormy, marble veined fur jackets which closed the show. Instead monochromatic good taste and simple elegance prevailed. This was a catwalk show which was immediately understandable and resolutely sellable. With the modern fabrics – think embossed, plasticized sweaters – clean and simple cuts and those kick-ass, toe cleavege revealing heels, this collection is sure to deliver the retail hit which Wang will ultimately be judged upon.”

“Perhaps most surprising, and happily so, this collection didn’t hit you in the face with the overt commercial mandate that many have assumed was behind Wang’s appointment; rather it felt smart, accomplished and well designed. As for its retro quotient — probably inevitable, given the circumstances — Wang delivered it deftly and well. But based on his body of work in New York, it’s hard to imagine him embracing obvious retro over the long haul,” salivated wwd. “Nor did the show offer the heady thrill of Nicolas Ghesquière’s best work, the brilliance of which brought the house from decades of dormancy back into the forefront of fashion until the designer’s tenure there started to sour. But for a collection not a minute more than two months in the making from first glimmer to runway, it made for an impressive start.

and uk vogue ventured in that “(i)t’s fair to say that there was more Balenciaga than Alexander Wang in this particular collection – the looseness of his fabrications replaced by something stiffer and more luxurious here – and it was right that he let the house take over. It’s a big house after all and this is his first season. It was a considered start and we could see that he understood the difference between what he does and what Balenciaga needs to be – looking through the eyes of both the man himself Cristobal Balenciaga (for he couldn’t and wouldn’t not), and Nicolas Ghesquière, both of their influences duly noted.”

and then–ever the pragmatists–the guardian slapped us with the financials (we’ll at least they’re seeing that): “Wang’s debut suggested that the commercial instincts which led PPR, the luxury brand group behind Balenciaga, to hire him were shrewd. Francois-Henri Pinault of PPR has said he hopes Wang’s Balenciaga will be ‘approachable’, which is an only slightly coded way of saying he hopes it will sell….Backstage, Wang referred to the show as ‘the first chapter’ in a mission to retell the story of Balenciaga so that it strikes a chord with a broader audience. Where Ghesquiere’s design processes were intricate and multi-layered, Wang’s approach was to present the subtle, nuanced codes of Balenciaga in a new, simple way. As Wang commented after the show, Balenciaga himself ‘took the avant-garde, and made it everyday’.” hmm. yeah, okay. aren’t things all the clearer now?

(see the fashion show video here)

paris fashion week: sacai

(images via vogue)

i’m not, like, a resident expert in designer chitose abe’s label sacai, though indeed we have covered quite a few collections here on opt (see a/w 2011, s/s 2012, a/w 2012, s/s 2013), and if i’m at times a little more hesitant on the subject of her designs than some of the fashionies currently rushing forward with all of their strength, then i nevertheless can admit there’s an eternally cool thing going down, and for the a/w 2013 season at paris fashion week, she once again proved her hipster-ironic appeal, combining all of that with english prepster classics. classic, non?

anyway, if some of her layered trench-y coat things felt like a little much to me at times, or her overwhelming tribal-cum-punk-cum-what? looks, like the layered zebra sweater, lacy stockings, snow-y boats, and red-and-black feathered skirt on maria bradley (and this was one of her more demure entrants in that portion of the show) suggested, then her re-envisioning of the classic trench (in its simpler forms) was quite magnificent, as the straightforward teal number on ondria hardin, or when she spliced a red velvet with that same teal checked pattern on a dress version worn by meghan collison. magnifique.

i’d also like to give homegirl some props for her decision to mix the aforementioned wool plaid with a kind of peachy lace, manifesting in its most lovely incarnation on irene hiemstra’s dress, which fell just below the knee, and at once, thanks to its contrasting textile choices, managed to at once convey a sense of delicacy and refinement paired with a sort of no-nonsense strength. i also liked sara blomqvist’s asymmetrically-hemmed blocked trenchcoat, but the likes of fei fei sun and maud welzen got overwhelmed by too much material heaped on a sort of sportif jacket and a mullet skirt that might have doubled as a tent (it featured so much material), respectively.

but! i think we’re alllll aware that what we’d really like is to hear the critics salivate, yes? and so, with that in mind accordingly, style declared that “(h)er trick this season was to choose iconic—predictable, even—Fall staples and spin them into something genuinely desirable. Trenchcoats, English hunting suits, skiwear, and biker jackets were the pieces in question. In Abe’s hands, they looked both familiar and surprising. Take the trench. She broke it down to its elements and fused parts to different garments. A navy velvet dress got an olive-drab cape back and collar, while a navy sweater acquired epaulets and a welted belt.”

meanwhile, the la times rapped out in their staccato way that this was “(h)ybrid fashion with an emphasis on fusing feminine shapes with menswear-inspired tailoring and fabrications such as wool  checks and outdoorsy quilted nylon. A cape-back trench coat dress with a velvet front. Mixed plaid and silk pleated skirt. Nordic-style Fair Isle sweater-coats decorated with feathers. Ochre-colored lace biker jacket with green windowpane check peplum. A fur, nylon and windowpane-check bomber jacket worn over skinny pants with nylon inserts. Quilted nylon spats worn over boots.”

“The silhouettes were grounded in tailoring, relatively straightforward in the front with nice dramatic volumes in the back,” relayed wwd. “The first look fused a trompe l’oeil velvet dress with a caped-back trench in army green — one of Abe’s many inventive propositions for novelty outerwear that could actually have a future in reality. Other standouts included the sturdy wool plaids, such as a boxy top with a navy cape back, worn over matching slim pants with sporty nylon inserts. Zebra-striped knits and new takes on Fair Isle sweaters, some done with feather and fringe details, offered a wintery edge, which was a nice evolution from Abe’s often sweet and girly mode.”

and vogue rejoined that “After adjusting your eye, what emerged was in essence a modern rendition of the LBD. To add to that rich texture, men’s suiting fabrics and the traditional sports coat was cleverly turned inside-out, fused with the casual cool of a bomber jacket and finished with an undulating peplum. The playful flutter of lingerie is never too far away at Sacai, and lace panels were often peeking out from between the pleats of a skirt, or collaged into the backs of sweaters. Combining the feminine and the masculine in the space of one coat is something Abe does with such a skilled hand that even her most intricate wintery remixes looked easy and light.”

then, finally, it was the iht‘s suzy menkes, describing how “Chitose Abe excelled herself in giving polish and variety to her long-held idea of the masculine/feminine sides of women playing out on the front and back of an outfit. But instead of the sweet lace back to a more rigorous skirt front, this season she had developed the idea with rare skill. Curving mirrors behind the models told the back story, primarily the current hot mix of different fabrics so that a tweed coat or a velvet dress might have a puffa back. One plaid jacket would be inset with padded nylon, while another had tangerine-colored lace appliquéd on a similar wool. Even knitting was given the same treatment as a tiger pattern morphed into fringe and lace.”

(enjoy the fashion show video here)

paris fashion week: rue du mail

(images via vogue)

pretty much every season at paris fashion week, when it comes time for us to discuss designer martine sitbon’s work at rue du mail, two things happen: first, i deride the critics for not giving her beautiful, wearable, and charming-if-challenging dresses (and some separates! lately she’s been opening it up to include more variation in the pieces) the time or discussion they deserve, and second, i then try my best to outshine myself in lavishing the love upon her i feel her work deserves.

anyway, opening up to the designer’s a/w 2013 presentation, i though that, as i usually just give you the opt archives, you could see it there (and thus, see resort 2011, s/s 2011, a/w 2011, s/s 2012, a/w 2012, s/s 2013), and then we could move on to different things, most important of which would undoubtedly be the clothes. this season, i’d argue, was her most wardrobe-y feeling yet, with plenty of furs to blend in with what the rest of europe is selling come fall, along with some excellent outerwear, including a marvelous giant herringbone coat that catherine mcneil seemed to collapse a little bit into as she opened the show.

i tend to not personally be one for, like, a lot of chunky texture, but ms. sitbon played it so nicely for fall it at times appeared almost lightweight, as in the case of a herringbone-and-tweed dress with…were those satin sleeves? (if so, it was a nice example of fabric-blocking) on irina nikolaeva that, thanks to the clever mix of fabrics didn’t make her appear to be, like, drowning her armpits in the weight of some 16 oz. fabric (or some such nonsense). and i kind of liked katlin aas’ matching culottes (in that same herringbone material), even if they did scream ‘grandma!’, and, perhaps ‘marni!’

and yet, actually, interestingly enough, ms. sitbon’s work had a lot in common with consuelo castiglioni’s latest show for marni, complete with the heavy fur collars on vests and jackets, and the softer (or should i say, darker) colour palette complete with some nature-y motifs, although rue du mail relied more heavily on geometric patterns and some sweet–and rather girlish–appliques and embroideries in the shape of irises. on the flashier side, there were some metallic colour-blocked and rather sixties-esque numbers with stripes or geometry for detail, and mackenzie drazan wore a pretty sleeveless white version emblazoned with colour along (and just beneath) the bodice.

anyway, i suppose now is as good a time as any to get onto the critical front, which was rather brief, although we should probably give those who did pay ms. sitbon’s work some mind some love for their attention nevertheless. and so, according to wwd, the designer “continued to evolve her Rue du Mail aesthetic with clothes that were coolly Parisian — not of the innocent variety, but feminine with a slightly subversive edge.”

“Sitbon started with a striking oversize herringbone pattern, shown on a belted voluminous coat and then a chic, tailored version with a fur collar and sleeves. She countered the mannish feel with pretty floral motifs. They looked lovely when worked as peekaboo details on velvet dresses, but the papery blossoms on multicolored devoré dresses were a bit much — they would have been beautiful without the extra decoration,” they prattled along. “For evening, Sitbon offered Lurex shift dresses that were particularly appealing in rusty shades of red. The touch of glitter exuded a youthful glamour that felt just right.”

elsewhere, showstudio reflected that “(t)he dresses dominated and came in simple black silk satin shifts, some with contrasting white zigzag embroidery, others with floral dévorés, another t-shirt-style with its single white flower embroidered on brought last season’s Prada daisy styles to mind. They all stopped right at the knee and had the potential of being that dress you always reach for when in a rush – wear with sharp ankle boots, throw on a cropped jacket et voila, you’re ready for the office/dinner/whatever. It’s these clever yet simple options that Rue du Mail excels at.”

“The herringbone also looked great as the skirt of a dress with a knitted top or a pleated skirt teamed with a knitted silk bomber. The velvet pieces never felt heavy and another two-tone dress with floral applique had a playful tone to it. The show hit its stride in the latter part when the copper lurex pieces started coming. A zipped-up bomber jacket with furry sleeves and collar worn with a matching white skirt looked great, as did the dresses – more structured than the earlier ones, the sparkly lurex criss-crossing its way across the bust. They had an energy to them and a purpose – a winning combination,” they concluded.

finally, though, style remarked that there were “(a) few too many ideas, as it happened, for this collection to communicate a clear, coherent message, though each one in turn was individually compelling. Designer Martine Sitbon had strong themes going, for instance, in her play with florals: There were floral-printed dévorés, and coarse floral embroideries, and funny floral appliqués that seemed suspended off garments. And more. You could intuit Sitbon’s mind working, as she experimented with ways of integrating the same motif into very dissimilar looks. Some of these efforts fared better than others—black and white bouclé gilets and coats with single flower embroidery had an almost mournful elegance, while the coarser embroidery on a couple of subdued shift dresses had an interesting, vaguely feral quality.”

“Elsewhere,” they wandered on, “Sitbon turned out a variety of winning looks in a magnified herringbone, in particular the robelike coat that opened the show. That graphic element found a nice echo in the collection’s wave-patterned embroideries and chunky knits. Then, all of a sudden, Sitbon hit her stride. In a passage of blue-tinged furs and glittery skirts, culottes, and dresses, this collection found its glamorously louche heart. The Rue du Mail girl was off to the disco, apparently, and the directness of these looks, and their relative exuberance, made for a nice change of pace.”

(enjoy the full fashion show video here)

paris fashion week: sonia rykiel

(images via style)

after we’ve been what feels like drowning in male designers’ work these past few days, i was totally ready to check up what the girls at sonia rykiel have been up to for the f/w 2013 season, but…do you know what? i just realized that this show at paris fashion week represented the new creative director, geraldo da conceicao’s debut with the label. sigh. those bastards! so i’m sorry about that. because while opt’s history with the house has been rather spotty (see resort 2011, f/w 2011, s/s 2012, resort 2013), i’ve nevertheless always loved its signature chic french flair.

anyway, in my take-away from the fall range, while i’d say i appreciate that mr. da conceicao appears to be trying to reinvigorate the label with a bit of newfound sexification (that feels at times quite a lot like whatever miuccia prada is putting out there, so is it any surprise that the designer actually has a history of having worked for miu miu, amongst others?), and while there were some very handsome pieces, i nevertheless felt the show appeared a little uneven, and with a lot of looks that just didn’t quite seem to ‘go’ with the rykiel aesthetic.

for instance, there were some triangular-shaped textural knit bits placed just above the crotch area on several dresses, as though they were pointing a ‘customer parking here’ sign towards…you know. and frankly, that feels a lot like a joke, well, hmm…someone, anyone else would play, but certainly not ms. rykiel and her ilk. ditto some of the sheer moments that allowed for full-on nipple exposure in a manner that felt like ‘insouciant french’ and more full-on hardcore. and then there was a lot more leather than i, frankly, knew what to do with.

but on the flipside, the parade of sweaters that closed out the show, with their colourful details and lacy inserts were, for the most part, both historic for the house and very charming, while a series of printed shirtdresses in shades of white-and-black (and blue as well, in the best example, adorned with little cross marks and stripes, worn by julia frauche) had a prettiness that at once felt approachable and carefree. and i even liked the sexier sheer black dresses, with their pockets along the breast line and the texture at the skirts, as they seemed like an interesting marriage of old and new, delving into some of ms. rykiel’s historically more sensual pieces, but with a streamlined modernity.

and so. with all of that in mind, let’s to the critics and their loud-mouthed opinions on the subject, yes? thus, for the upcoming fall, the designer, wrote the fashion spot, “embraced the brand’s quirky heritage and signature knits. Oversized buttons, ruffle details and geometric prints recurred throughout the collection, which featured mostly relaxed silhouettes. At over 70 looks, the collection could have used some serious editing however.”

and then, uk vogue described how “(b)ig buttons on double-breasted cardigans and jackets in shades of lilac and pink and navy; frill-edged fancy pockets and witty knits to fashionably illustrate one’s private parts – it was a cheeky and sweet return to the old days but moved on a little too. Cue black leather capes and coats for some fashion direction – perhaps suggestive that there is more than just fun knits, if required, still to come from this designer.”

“There were candy floss knits too and printed shirt dresses that were more night dress in their appeal, and then we got some saucy but chic feather negligee shoes – again a stamp of fun that we look to this brand for,” they warbled on. “To end came a parade of colourful jumpers and flared trousers – a lot in leather – perhaps da Conceicao’s way of acknowledging that he knows where this house has come from and what it’s about and that it’s in safe hands with him. Give or take a couple of the more grown-up leather and fur looks. But that joie de vivre is back.”

and according to fashionista, which came in with an opinion surprisingly similar to my own, “Conceicao spent time at Miu Miu, and Mrs. Prada’s influence is evident in his sexy-ugly stylings. (Although Prada’s approach is wayyy more subtle.) A black mini dress, for instance, was adorned with a fuzzy strip of fabric laid across the nipples, and an inverted triangle between the hips, mimicking a censored nude photograph. Sheer knee-high socks were adorned with the words ‘hot,’ ‘joie,’ ‘play,’ and ‘amour.’ Skimpy sweats were re-imagined in bubblegum pink mohair.”

quite similarly, too, style described how “the collection’s little black dress featured a band of pink across the chest and a triangle patch toward the nether regions. Let’s give it a PG-13 for innuendo. Rykiel, after all, was an early pusher of going braless….But these here were good girls, merely tempted at the thought of going bad. They wear leatherette pants in cherry red and sky blue, and Lucite heels with kneesocks…After the show, da Conceicao insisted he did not mine the archives but rather the ‘spirit’ of the label.”

“Though he dabbled with pastels,” explained wwd, “including baby blue and bubblegum pink, da Conceicao was most convincing when he stuck to black — especially the terrific loosely constructed leather dresses.With this dynamic, if at times uneven, effort, the designer was clearly seeking a balance between the Rykiel DNA and his own harder-edged aesthetic. The two merged admirably in a trio of simple black dresses but the final parade of models, all clad in sweaters and droopy flared trousers, felt like a forced reference to Rykiel’s traditional group finales — but without her devil-may-care Parisian charm.”

and elsewhere, us vogue chimed in that “(t)he tongue-in-cheek witticisms were also ill-timed in places; while socks inscribed with mismatched sweet nothings were thoroughly charming, the joke was lost on strategically placed fuzzy mohair triangles woven suggestively below the waist. Things did pick up considerably, though, toward the end, and a stream of models in flared leather pants and sweaters strewn with all manner of delightful motifs, like daisies and seashells, came out for the finale. At the end of the day, it’s mood-brightening pieces like these that editors and buyers are likely to take away.”

(enjoy the fashion show video here)

paris fashion week: rick owens

(images via style)

rick owens is one of the few designers whom i adore (or, at least, i should be fair; i always approach his collections with an open mind, but to date, i haven’t seen one yet i haven’t liked; see a/w 2010, s/s 2011, a/w 2011, s/s 2012, a/w 2012, s/s 2013), but absolutely detest writing about. i think that’s because beautiful and complex as it is, with all of the drapes, folds, and nooks, it transcends anything that is easily put on paper, so while we can write about the theme, and, say, the colours, it takes a much better literary talent than myself to turn into words what he twists out with his textiles.

and so, that’s usually the plight i’m in as we approach each of his collections at paris fashion week. i stare, agog, at what wonders he has crafted anew, goggle some more about how he managed to come up with it…and…nothing.  and i’ve hardly got anything to say just the same again for the designer’s a/w 2013 display, save for maybe the fact that it sort of looked japanese in nature. but any first year fashion student (or not) could tell you that, and beyond that i’ve got pretty much just blubbering.

anyway, i imagine that you know where i’m going from here, and you’re absolutely correct! let’s talk about what the critics have to say, yes? “this season was about working monochrome layers—long coats over short dresses, legs encased in three-quarter-length black leather boots, which were lashed at the ankle with white rope,” declared us vogue. “The conceit—if that’s not too pretentious a term for a hard-core hipster designer—was geometric, graphic, and textured with panels of fur, duchesse satin, and zones of padding.”

“Narrow black coats had white rectangular trails,” they prattled on, “dragging in the back— not exactly a practical proposition for urban streetwear. Part of Rick Owens’s psyche reaches for ‘statement’—and there was more in that vein when he introduced plaited, knotted leather inserts into the midsections of cocoonlike jackets…Aside from the stringy knits he continues to provide (and which he has no need to prove he does any longer)—these are the kinds of long-term investment pieces that make Rick Owens an American design force to be reckoned with.”

and according to the washington post, “(o)versize white tunics and black fabric layers seem haphazard — but were in fact delivered delicately, with soft architecture: the first look’s white hanging robe frames the sectioned, column silhouette. Elsewhere, collars — like flaccid marzipan in celebratory cakes — unfurled down from the neck; while a few white stitches, that he used sparingly, succeeded in dominating and defining whole looks in black. And only someone as talented as Owens can make duffel coats beautiful — seen here, at the warehouse show, with oversize toggles that hung like shells with dynamic movement.”

meanwhile, style rejoined that “‘(b)attle-scarred heroism’ was Owens’ theme. The models stepped out into the Salle Marcel Cerdan, a brutal concrete bunker, through clouds of steam, their faces bleached clean, their hair frizzed into huge dandelion heads…the designer showed some of the most appealingly direct and simply beautiful pieces he has ever offered. The weightiness of his theme was leavened by his revision of his three signal pieces. The coats often had the big-sleeved volume of kimonos, the boots had needle heels instead of Frankenstein-soled chunk, and the T-shirts were sportily layered in mid-thigh tunics, some with asymmetric, bauble-trimmed tails.”

“That decorative touch,” they carried on, “rare for Owens, blew up in the collection’s major motifs: Japanese-influenced knotting and grids of lacing. Realizing his predilection for the outré might incline his audience toward bondage scenarios, Owens quickly pointed out that it was actually traditional basket-weaving techniques he was referencing. He used them to knot a yoke of black ponyskin to a skirt of white suede in one spectacular jacket. White basket weave also strikingly hemmed a black kimono jacket. There were, however, plenty of simpler pieces to love, like the white-laced coat-dress and the abbreviated duffel.”

and elsewhere, we heard fashionologie relating that “this one was rendered entirely in black and white — not surprising, considering Owens usually sticks to that palette. What was surprising was perhaps how wearable this collection was: a kimono-style jacket was cinched with an obi-style belt that actually laced the black upper part of the bodice to white fabric underneath, and a few black wool jackets were accented with asymmetrical lapels in shearling. It all looked like a warm defense against the cold and blowing wind — which appeared to ravage the models’ crimped and teased hair as they came down the runway.”

“The weird, if wonderful,” announced suzy menkes of the iht, “had been replaced by more approachable pieces. The boots, lapped with strings, had high thin heels; a coat might have a sportswear hood or even toggle buttons. Soaring sounds from Otto Klemperer were matched by simple clothes with a glamorous modernity that you might even wear to the opera, like a short dress trailing a silken sash. This was a surprise — but not a bad one — from a master of the dark arts.”

then, wwd relayed how “Owens started with the usual dramatic gesture (remember the flames and foam of past seasons?), this time with dense steam billowing out from one side of the backdrop. Models emerged through a cloudlike wall, their hair teased, tousled and often falling in front of the face for a visual that provided a heavenly touch to the clothes.  Here, Owens made a statement for layering and volume.”

“Floor-length silhouettes were accentuated with exaggerated kimono sleeves; the hoodies on several coats came unzipped, falling around the shoulders like large ruffles for a lovely, studied elegance,” they warbled on. “The same goes for the rest of the outerwear — particularly the coats with prominent toggles, which led to a parade of mesmerizing surface decorations. Owens played with Whipstitching, weaving strings through eyelets like shoelaces on short coats, evolving the look with thick rope that artfully tied black-and-white panels together with a prominent knit. The effect was artful and chic.”

and, finally, we heard from uk vogue, closing us out with the thought that the “coats here were great – loose and boxy in shape and pulled into stronger silhouettes through unzipped collar detailing, long slits up and at the backs and sides and that chunky knotted cable detailing that, when it featured in white on black to thread through linear formations, called to mind a high fashion reworking of Funny Bones. It was a welcome surprise of a collection: wearable, raw and beautiful.”

(watch the catwalk video here)

milan fashion week: roberto cavalli

(images via style)

if this season on the whole has proved rather unexpected for me in terms of which collections i’ve positively responded to (often from designers i’m on the fence about), while some of my usual favourites have disappointed me a bit, then i guess i can say i’m always looking forward to a roberto cavalli show, if for no other reason than he knows how to put on a good one, regularly turning out the seduction and ostentation in equal measure, so that we often find ourselves wondering whether to laugh or clap. in other words, i think he has a sense of humour about his outrageous sensuality, and that makes for a lighter–and ultimately more fun–display.

i mean, that’s how i think we’re supposed to take it. after all, what other designer would start out one of his shows parading around the catwalk with his dog before letting his models stumble out, like the glamourous haute messes they’re supposed to represent, at once pinnacles of fabulosity and decadence, and yet, for all of that, appearing ever-so-overdone. a friend of mine in fashion school described his work as ‘eurotrash’ and it wasn’t an undue exaggeration. but! that’s what makes his shows so much fun, such a delight of milan fashion week, non?

and really, i do want to say, as ever, as for the a/w 2013 presentation we’re looking at just now, as well as basically every other collection opt has reviewed of his (see a/w 2010, resort 2011, s/s 2011, a/w 2011, s/s 2012, a/w 2012, resort 2013, s/s 2013, pre-fall 2013), that if we strip away some of the styling, we’re left with beautiful, beautiful, well-crafted and magnificent clothes. sure, with all of the furry arms and embroidery that were on display (the latter trend something he’s been pushing for several seasons now), it felt like a lot. but it could be done up more conservatively as well as in this attention-grabbing forum, and this versatility marks his skill as a designer, even if it isn’t always immediately apparent at first.

right. so. critics’ corner time? i can scarcely wait to see what they’ve to say about this collection (but then, with mr. cavalli i never can). and so, according to wwd, the designer “channeled his decorative impulses in a different direction for fall, shooing away the snake and feline patterns in favor of something darker and more mysterious. Metal and shine were integral to the collection. Chains traced the sleeves, shoulders, busts and hips of shift dresses that occasionally brought to mind Sixties backup singers. Steel inlays intermingled with fox fur, tweed, leather and studs on intricate, sweaterlike coats. In the show notes, Cavalli said the industrial-strength hardware was meant to summon ‘a captivating and sensual armor effect.’”

“The show opened,” they carried on, “with a dozen or so exits in black and white worked in crowded prints of brushstroke flora on lean tuxedos with Seventies airs, or sliced up on a filmy kilt. Then, à la Instagram, the designer illuminated similar looks with mineral shades — magenta, cobalt and turquoise — sometimes overwhelming the lavish ornamentation. To be sure, this was a more covered-up and somber affair by Cavalli standards, seducing with film-noir glamour rather than animal instincts.”

meanwhile, us vogue pointed out that “Cavalli and his wife and creative partner Eva have been pondering the idea of modern armor. He sought the help of local centuries-old Florentine ateliers to put his ideas into action, incorporating fur and leather into an intricate chain mail on an army of models in shimmering black thigh-grazing minidresses. That darker mood is in keeping with what we’ve seen so far, although ultimately his vision and craftwork were filtered through a romantic lens: Unravel the cubist latticework on pleated miniskirts, and his soft petal-strewn paintings reappear.”

“Instead of overt sexiness,” opined fab sugar, “this is a more androgynous brand of glamour, with monochromatic print on print and gowns that trade curvaceous overtures for subtle revelations of skin with sheer paneling and form-grazing — rather than form-flaunting — cuts. There’s something boyish in the suiting and more modest cuts, but none of it is any less striking, any less luxe, or any less glam. Thanks to multicolored furry toppers, studs, and brocades, Cavalli’s girl is just as much the rock-and-roll goddess she’s always been.”

and elsewhere, style chimed in that this was “a show that spun sinuous coils around a scenario of old-school decadence. It was heavy, leaden almost, in its attachment to the notion of an opiated, smoky-eyed seductress luring hapless males to sexual oblivion, but for all of that, it had a heady momentum. For one thing, the clothes themselves were founded in the cult of Florentine craftsmanship, with traditions that date back to the Renaissance. Kasia Struss sported a drop-waist dress in leather pleated and plaited in such a way that it would have been familiar to artisans in the sixteenth century.”

“Fur jackets,” they prattled on, “were woven with leather strips on traditional looms. And, where Roberto would once have used photoprints to color his collection, here he actually picked up a brush and painted les fleurs du mal on his accessories. Still, technique held a small candle to the fin de siècle mood generated by monochrome floral prints, by pieces intricately beaded with a mosaic of metal to make a new armor, and by necklaces and bracelets sculpted with snakes. The toxic subtext had an eldritch lure. There is, after all, a Mordor-like shadow over fashion this season.”

the designer, reflected the fashion spot, “took his love for opulence and frill and channeled it into a darker direction this season for a collection that was on-brand while being surprisingly wearable. The details in the collection were astounding: elaborate studwork, chain covered shifts, multicolored furs, mixed textured separates, and while not every look would translate into real life the way it was presented on the runway, nearly every piece was wearable when taken on its own…The designer eschewed plunging necklines and thigh-high slits for angled shoulders, long sleeves and a variety of tuxedo looks.”

and according to the iht‘s suzy menkes, “(w)hat might have seemed a doubtful idea — the designer of vivid color and pattern draining away that signature exuberance — turned out to be a graceful fashion moment. The shades of black and gray suggested a wistful ode to old photography in an age of digital drama. The dresses may not have been the more familiar multicolored beauties, but even on the runway the detail and workmanship seemed exceptional. The only unfortunate note among these black and white keys was played by the shoes. Too high, too wobbly and too attention-seeking as the models, visibly uncomfortable, walked the runway, the shoes prevented a good show from being great.”

and finally, there was uk vogue, noting that “(t)here were lots of variations on the same sort of dress and those studs of shimmer either sparkled short or they sparkled long for two evening spectaculars at the end, all black and splaying and not your traditional red carpet number. They had a little more verve than that. Trousers and jackets remained true to the Cavalli client – flares for the fomer, and trophy varieties with sharpened shoulders for the latter. Jewels clung to necks and wrists and box clutches nestled in palms. It was all very Cavalli but this time applied to a medieval framework and sartorial Joan of Arc spirit – whether that was his intention or not.” fabulous. i think. and i’m sure that, at least, was his intention.

(enjoy the full fashion show video here)

milan fashion week: missoni

(images via style)

so even though i’d never call myself, like, a missoni devotee by any stretch (it seems to be another of those italian labels that inspires some hardcore fan-age), i think my attitude towards the brand is one of general pleasantry, and i’m always looking forward to a new season and seeing what angela missoni is up to, if not only because (here i will admit) she manipulates the house archives in some brilliant ways, but also because she’s unafraid of colour, even in winter, a concept which, as we are all aware, can be anathema at milan fashion week some seasons (it’s as if the rest of the designers had a conference or something).

and so, after several seasons of the aforementioned general pleasantness (see a/w 2010, a/w 2011, resort 2012, s/s 2012, a/w 2012, s/s 2013), i found myself, for the a/w 2013 season…a little perplexed. to be sure, i was definitely down with the luxe sleepwear look–i’ve always been a ‘going about one’s day in elegant pajamas’-type of kid–but honestly, it was such a shakeup from what the other houses have been up to, i scare knew how to react. maybe closest in spirit was the marc jacobs show at nyfw, but all the same, somehow i found the missoni edition a little more comforting, empowering even, as it encouraged its women to look more like hugh hefner and less like his models.

on the whole, though, i do want to say that i very much liked the low-key vibe, loved those casual robes that were flung over the models’ sleepy layers (especially when they came in the pops of colour that were surprisingly rare for a missoni show, like in the case of that lovely peachy-coral number worn by tian yi), and was down to be all about those strappy–were they tanks?–that were teamed (once again here) under the multitudes of other clothing/outerwear, like maria loks’ more elegant black version donned under the margarita/gray/black patterned suit, or alex yuryeva’s white ‘rolled-outta-bed’ variety slapped on beneath her barely clinging-on matching robe.

but! as you can imagine, if i’m this verbose, the critics are going to have much to say, yes? and so, without further ado, let’s hear it from their mouths! and so, the “collection was a more relaxed, casual look for the Italian knitwear house,” proclaimed the daily beast. “Loose silk pants, cozy ponchos, and supple leggings were all a part of the equation. But the brand’s newfound sense of ease even went as far to include many souped-up takes on a trusty household staple….the bathrobe.”

and wwd chimed in that “(o)uterwear was generous and cozy in fuzzy fabrics, including luscious cashmere numbers dotted with strips of mink. By contrast, most of the knitwear was dazzlingly light — almost as translucent as hosiery on the sleeves of some shift dresses, or as panels on others to expose a shoulder here, a flash of leg there. There was a sporty undercurrent, reinforced by the pounding techno soundtrack and the breakneck pace of the models.”

“Long tube dresses etched the body not only with their clinging shape, but with patches of meshlike transparency and sexy racer backs,” they continued. “Vaguely Sixties shifts came in flesh-toned openwork knits layered over vivid silks. Typical graphic patterns — zigzags and broken stripes — were used sparingly, putting the accent on neutrals, frosty pastels and flashes of lapis and coral. The show notes offered few clues to this at times puzzling collection, citing ‘ethereal slippery outfits…as soft and warm as pashminas.’”

and in a rather brief turn, fashionologie described how “(m)any of the looks that came down the runway, whether cut from Lurex or the textured knitwear for which the house is so well known, were topped off with robe-like coats, and some of them were cast just off the models’ shoulders. The mostly black and white palette was shot through here and there with appealing shades of lime green, orange, and cobalt.”

meanwhile, the washington post reported that “(m)any of the overcoats resembled robes, worn languidly hanging from one shoulder and fittingly were tied with a ribbon ‘ready to be fastened and unfastened while in motion.’ Underneath were thinly knit men’s pajamas or silky dresses resembling negligees. Sheath dresses were worn with unique net stockings, creating fresh textures, and knee-high boots. Panels of some of the dresses, skirts and tops were left provocatively transparent. Shades were frosty whites, pinks or grays, along with stronger shades of gray or black.”

“Exploring the theme of dishabille – or the state of undress – Missoni sent out her models in un-done, close cropped shearling dressing gowns, silken pyjamas and be-ribboned tabards which revealed the ribcage,” explained grazia. “The look brought to mind an ultra elegant stay-at-home-worker, with her sloppy chic free-lance lifestyle. Comfy but sophisticated, there was a sense of blurring between work and home life, and night and daywear. Elsewhere we were treated to a selection of urban-appropriate fine-knitted dresses and separates which wouldn’t be out of place in downtown New York.”

“Sporty details,” they prattled on, “including racerbacks and halter necklines were combined with laddered wovens and tights to bring an energetic, and at times, grungy youthfulness to the line. The palette was industrial: grey cement, aluminium, steel and black with highlights of lime, lapis and coral. Texture is the big buzzword of the season, and unsurprisingly for knit specialists, this was a strength of the collection. Cashmere yarns sat alongside alpaca and cowhide while a play on knit transparencies – along with some seriously revealing back views- added a potent sense of sex appeal.”

and elsewhere, fab sugar described how “(i)n place of the loud knits we’re used to seeing, Angela Missoni utilized a simple, refreshing color palette and a more effortless feel for Fall with a mix of solids and patterns. Oversize robe coats were worn haphazardly over the shoulders and paired with print trousers, and blazers, while dresses received a modern touch via sheer cutout details. There were also a few pairs of irresistibly cool slouchy leather pants dipped in cobalt and lime green hues. The fashion house’s iconic knitwear was still evident throughout the collection, but this time toned down in fine shimmery metallic finishes and textural sweater coats.”

“Models came down the runway in soft knit jacquard cardigans and light shearling coats that were casually draped over one shoulder and loosely tied with ribbons at the waist to look like elevated renditions of a classic bathrobe,” related vogue. “The silhouette continued through cropped kimono-style tops and jackets in soft pink and baby blue that were finished with the same satin ribbon fastenings. Underneath those voluminous layers a more sinewy silhouette emerged, and body-conscious knit dresses were cut with geometric transparent panels and slashes that gave strategic insinuations of skin.”

“One geometric-print pajama blazer, for example, was deliberately slit open to reveal black racer-back underpinnings,” they rambled on. “This graphic athletic line and dark palette are indicative of what we’ve seen so far this season, and few designers appear to be feeling for bright color or whimsy. That being said, there was enough range in the collection to appease a changeable mood. On a gloomy winter’s day the drawstring silk pants and cozy belted vests will be a comforting proposition, whether you decide to leave the house or spend the day nonchalantly lounging around.”

finally, though, there was style, chiming in that “(t)he clothes retreated into the sanctuary of the boudoir, with flowing, languid lines that echoed pajamas and bathrobes, or huge, schmoodgy blanket wraps that suggested consummate coziness, even in a shawl-collared, tuxedo-styled version. But there was another, tougher voice in the collection: fishnet tights and boots, metallic jacquards in simple sixties-styled shifts or elongated tubes, liquid leathers, and sinuous jerseys with sheer panels that randomly revealed bits of the body.”

“Missoni’s classic techniques were radically reconfigured with bold new techno-dégradé inflections in acid colors. The two impulses—cocooning and confrontation—were tricky bedfellows. Missoni’s current challenge is clearly to reconcile them,” they concluded. and maybe so. but i really liked it. unless it encourages the trend of wearing fuzzy bear slippers and sweatpants to the shops. and anything ‘pink’ from vicky’s secret, as, like, the budget alternative. then, indeed, i won’t be so well-pleased as i am now. hmmm. maybe i should be putting angela missoni on notice, after all.

(check out the full fashion show video here)