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A Journey That Wasn't
Antarctica. A fierce, raw, and lonely place. For most, it’s un¬known territory-–and new islands constantly emerge as the ice melts and changes the environment. Mainly inspired by the namesake video installation by French artist Pierre Huyghe, A Journey That Wasn't is the dystopic AW14-collection by Anne Sofie Madsen. Huyghe takes the viewer on a journey from Antarctica, where he searches for a rare albino penguin and through new unknown territory, to Central Park in New York City. Humankind’s simultaneous destruction of nature and yearning for Utopia, for the wild nature, and the fast, mechan¬ic pace of the city is central to the collection and the use of technique. There’s a big focus on form and surfaces as silk, microfibers, cotton, and neoprene are contrast¬ed with metallic D-rings, chains, and thick leathers developed by Anne Sofie Madsen and ECCO. Blue, black, and white leathers have been treated to look like icebergs, while pieces in fox, mink, shaved mink, and fin racoon from Kopenhagen Fur are netted on the inside to give a sporty feel. Prints have been made on the basis of the leathers mixed with surfaces from trees. Washed, bleached denim with frayed edges add to the late nineties feel and the millennium-fear of the de¬cade. Handmade silver accessories by jewellery designer Trine Tuxen and helmets with fur by milliner Soren Bach complete the collection.
Serkan Cura keeps pushing the envelope within the noble craft of feather making. In one of his more outré creations, plumes were worked to resemble fur and fashioned into a hairy pantsuit. Feathers also sprouted from the hips on artfully crafted corsets, another Cura specialty, and were arranged like exotic flowers to create sculptural shoulder pieces.
There was plenty of theatricality, mainly of the burlesque variety. His impeccable craftsmanship spoke for itself.
For the designer Charlotte Licha the fashion is a mixture of everything surrounds us and it’s not just about clothes. Her first collection is dedicated to every woman who dares to be different, and represents the feeling of life. She named her collection "Point", because - for her - we are atoms (small points) living and evolving within bigger point. In this collection, the designer wants to fulfill all tastes. She wants that the women has confidence in her pace, and adds glamour and elegance to her world with embroidered jackets, carefully worked shoulders, handmade applications, long romantic dresses in noble materials (lace, gazar, ziberline, crepe silk, tulle). Charlotte Licha wants to build majestic and imposing collection, in a current, modern and colorful perspective. The chart will highlight a wide range of colors: off-white, yellow, sand, pale blue, paloma, celosia gray, orange and drops of black. A graceful and innovative collection that wants to give a perception of delicacy and finesse inspired by a woman for women.
Les fleurs du mal.
Poetic and dramatic, the Zuhaitz collection is like a new language that brings to life beauty and delicacy through the gracious curves of dresses inspired by florals. The collection represents a flower in full bloom, at the peak of its beauty, giving reference at the same time to the dark yet beautiful truth of this flowers eventual decline. For her first collection, Zuhaitz dreams of a vast, floral universe where shorter dresses reign. It is within this beautiful and majestic kingdom that she found inspiration to build a collection that reveals itself to be both ethereal and geometric. She found further inspiration through the colors and forms of orchids, roses, shells and contoured vegetables. The array of colors that are featured in the collection are few but striking. Golden hues and black stand out as the signature colors that symbolize the collection but they are accompanied the occasional poppy red or forest green. Zuhaitz espouses a feminity that is self confident and removes itself from any clichés. Although at first glance the collection appears sharp and clean-cut, the graphic contours of the dresses recall a lifelong movement
In Julien Fournié’s world, this season, graceful silhouettes –heirs to Jean-Gabriel Domergue’s long-necked heroines - evolve in the strange atmosphere dear to Mark Ryden’s so adorably enigmatic young female characters. In the 18th century pastel colors of Jean- Honoré Fragonard, Fournié knowingly mixes references and their eras to project his style. Interpreting the delicacy of girls just before they venture in social events, the fashion designer pays tribute the “éternel féminin” dear to the Haute Couture in a contemporary expression. Adding innovation to tradition, the designer collaborates closely with the unparalleled expertise of Parisian luxury craftsmen (Lesage in particular) and partners on R&D high technologies (with FashionLab by Dassault Systèmes) for virtual 3D. Under his hand appears a woman who claims a delicate elegance , mixes chic with casualness and transforms her vulnerability into a charming weapon.
This season for Haute Couture, Ilja once again enchants us with her Caesura collection. Inspired by the seascapes of photographer Hiroshi Sugimoto and the paintings of fluid horizons by Mark Rothko. her collection blends organic lines and sensual silhouettes with the patterns of empty beaches and washed-out landscapes. Ilja’s collection stands in timelessness and the longing of silence in the midst of high-speed lifestyles and hectic daily routines.
The collection was presented in the lovely salon of Hotel Regina and came in a color palette of strong reds and blacks mixed with dusky, marbled prints. But what really brought stood out was Ilja’s sculptural and structured shapes that underline the mysticism and feminine silhouettes of each garment. Make up and hair were kept minimal, with slicked back ponytails and fresh faces, touched only with a rusty iridescent lip color. We also couldn’t take our eyes off of the equally sculptural platform wedged heels with sharps angles that came in black and white.
By Charin Chong
Tony Ward’s Spring-Summer 2014 Couture collection is inspired by
Architecture and origami flowers which he imagines in full bloom,
reinterpreting them through cuts, shapes and volumes.
In this collection he combines a romantic vision with modern
structures, translating them through a playful approach to colour,
fabric and lines.
The softness of lilac, yellow, silver, and blush are strengthened and balanced by graphic uses of black and white. The fabrics of the collection are a mixture between duchess satin, hand-painted silks, silk chiffon, gazar, embroidered tulle and macramé lace.
The striking silhouettes are created with faultless precision and workmanship, prominently shown in hundreds of visible cuts. Floral and geometrical shapes, both irregular and fragmented, hold a dominant place in this collection defined by countless threedimensional elements.
This season, charlie le mindu proposes a collection inspired by the seapunk or spacepunk movement. It is question of discovering a new world where man has not yet been, but which will be reachable and palpable in a near future.
The phosphorescent colours, super-natural, project the idea of a futurist perspective, without however neglecting references to modern technologies and also to techno music which captures the night and makes it a unique space.
Even if it echoes the will to work with empty space, weightlessness, forms drawn from levitation, the collection is called “stronger “ as the research and the work done with colour is intended to be both extreme and energetic
The treatment of the colours requires high level technical mastery, as it is necessary to work for several months in darkness and with blacklighting to obtain such luminous colours.
Hence the dual point of interest of this collection, the combination of the mastery of six different plaits and a complex use of embroidery, result in details which show themselves both in the dark with ultra-violet light and in the light of day
This range of shades, a high energy and highly coloured cameo ..offers in this way different levels of appreciation depending on the environment in which the viewer observes and imagines these floating objects.
Mihara Yasuhiro is a worry. From being one of the inspirational high points of the Paris menswear calendar, with shows that so effectively married cutting-edge tech to a profoundly human touch that could bring tears to the eyes, he has scaled down radically. Now he prefers to show in a boutique in the Palais Royale, with models walking around desultorily to a beat box. Needs must if it's a budget issue, but on a conceptual level Mihara has also downscaled. Where Miharayasuhiro's clothes once had the most peculiar, haunting poetry, they are now a perfectly explicable, linear variation on a theme.
Today's, for instance, was a movement called the Tokyo mods, an organic offshoot of the mod movement in London. Skinny-suited, small-boned mod has infiltrated all over this season. Admittedly, Mihara's take is likely to stand as the most original, but by his own standards he showed a subdued, downbeat collection. His signature hybrids were in full effect, like the half-and-half shoes that have developed an ardent following, and the coat-and-parka twofers. There was also his blend of classic Japanese artisanship with urban Tokyo edginess, here exemplified by a fusion of the eighteenth-century artist Ito Jakuchu and the contemporary painter Udaka Kentaru. The result mixed traditional calligraphy with glittering clouds, puddles of shine, and an aggressive, graffiti-like blur. It was the high point of the collection.
The music, by the way, sounded like psychobilly heard down a subway tunnel. It was Mihara's own mutant mix of old rock 'n' roll tracks, and when he described it, the lo-fi-ness of the whole presentation suddenly seemed so deliberate that you were left wondering if this was one more genius performance. Guess we'll just have to stay tuned.
by Tim Blanks