Archive for the ‘Fashion’ Category

As the show came to an end, the people attending were left in gushing tears of uninhibited emotion. Reading this news from numerous sources, I personally do not see how a fashion show could move an entire crowd into genuine sobs, a feat almost unheard of behind the cold, critical gaze of editors behind their shielded sunglasses. This was due to the intimate approach that Stephano and Domenico chose to experiment.

Playing in the background throughout the entire runway was a video displayed across a large projected screen. From this video, the crowd absorbed the process that went into making the collection. The absolute perfection of the tailoring and construction was admirable, but it was the beauty of the love that Stephano and Domenico put into making these clothes which really blew everyone, including me from my computer screen, away.

Critics in the past say that designers are really exploring their roots, but this saying has become a cliche and commonplace. Every season when critics have nothing left to say, they slap a bunch of big mumble-jumble words together to attempt to sound as if they’re more sophisticated than everyone else. So, in light of this collection, I would just like to say that this time, the designers truly explored their DNA, creating a show full of their authentic classics which they have built their brand off of, and created a video to show the magical element they experienced while making the clothes.

The clothes in themselves were sexy, high quality lingerie-esque clothing, but tailored to perfection. Flawless tailoring was fully implemented throughout the collection in the form of jackets with lace peeking out in an ever-so-suggestive way. There were satin slips which were overlaid with the sexy lace trim, or a full on satin dress styled with gold headphones. Slinky red luscious velvet also crept onto the runway, proving yet again the special touch that Dolce and Gabbana have for creating beautiful clothes out of the most difficult fabrics. The collection then progressed into sheer polka dot dresses and leopard prints which normally I am not a fan of but in this case they were lovely. This collection didn’t break any new boundaries, but instead brushed up on what makes the brand and creating the most classic of the looks in the most beautiful way.

After watching this show, I could see why so many had tears in their eyes, but I wasn’t one of those who broke down crying after a fashion show. I take it that the past few seasons have been all about drama and party clothes and  the fact that these clothes are so simplistic and down-to-earth is too much for the critics to handle, yet I still did not feel like it was like someone had died there. Maybe that’s another reason: everyone is really sensitive since the death of Alexander Mcqueen, a truly iconic person. Maybe it was the music, which played a bittersweet melody from Moulin Rouge. The true reason I believe is that people are tired of seeing clothes without a message. That takes the meaning out of what they do; so the fact that Marc Jacobs and Dolce and Gabbana thought this differently really makes us question why fashion matters. It is for when shows like this one happen.


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Prada RTW Fall 2010 – WWD.com.

Featured at Prada this fall, are clothes of all assortments; However, only for the average grandma from the fifties. Raving reviews were given yet my view is that these clothes look so archaic they belong in a cellar (if you were to still use that term). Prada herself called it “sexy” but her view of sexy must be holed up in a rocking chair, knitting away for hours on end while drinking tea with honey. She also claimed that there was an emphasis on breasts, which vulgar as it sounds, was clearly not present. From the cut of the clothes to the color palette, everything spoke matronly and old.

I suppose sexy and hot to fashion people is subtle, as WWD writes, “sex appeal — this collection had plenty.” Yet the collection began with a long sleeved A-line dress bearing no skin, with darts clearly displayed in the boob area and a hint of black lace (reminiscent of curtains) at the bottom hemline of the dress. This look was completed with grey socks appealing to only people over the age of 95, and was topped with a pointy toed shoe. Tell me what’s sexy about that. Clearly, this collection was so amazing it blew my brains out *cough cough*.

The collection progressed into what normal people would call a curtain-on-a-woman. There was also this interesting wallpaper textile which I think Prada was trying to interpret as a walking wall, or something similar to one. This wallpaper design came not only in one color, but multicolored hues, for all of you who want a different wallpaper dress to wear for every occasion.

Some other intriguing details were explosions of ruffles where a woman’s boobs would be, I suppose this was a halfhearted attempt at making them appear bigger. Also, the cable knit collar; a most popular knit favored by grandmas who enjoy exploring their knitting techniques.

One thing that disturbed me (not that the entire collection didn’t) was that in an effort to keep up with trends, Prada cut holes out of some of the dresses so that the stomach was exposed, and the effect achieved was a dress that looked like someone decided to pull a prank on some poor grandma by cutting out a section of her favorite dress.

Towards the end there were a couple fascinating dresses with ornate beading in them. Too bad they were all black so it was hard to see this stunning revolution in granny fashion. Then at the end there was a textile that looked as if it was copied from the marbling paint technique. A very baroque looking wallpaper print.

This conservative exploration into the depths of the granny archive made for an entertaining show to not only attack with sarcastic, cynical comments, but to also fuss meticulously over the many details that made this show such an awful collection which I have absolutely no clue whatsoever as to why people gushed over it.

and feel free to criticize through comment!

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Aren’t these just lovely?

I’d like to actually see someone where that in real life 🙂

Or that…

In fact, I think only the last look anyone could truly pull off

Proenza Schouler RTW Fall 2010 – Courtesy of WWD.com.

Last season, Jack and Lazaro (designers for Proenza Schoeler) showed the coolest show in fashion week, but that’s just my opinion. They showed many wild prints and tight sexy clothes inspired by So-Cal girls. This season, while still keeping the sexy vibe and interesting prints, their theme was more styled and dressed up. While not as in-your-face stunning fashion as last season, the subtlety of the outfits this fall made for a grown up type of cool. Besides, we all have to grow up sometime don’t we? (not that I’m a grown up or anything).

The first look alone had a wow factor that definitely would not be considered safe; a white jean imprinted with an eye popping black scribble topped with a heavy structured wool jacket with those wooden button straps pushed the risqué factor exceptionally. This scribble jean (in collaboration with J Brand or so I heard) recurred several more times throughout the show, as well as the warm looking wool jacket, which was deconstructed, changed in proportion, and sectioned with leather in certain parts. This coat was the more predominant silhouette, as it served as the outerwear part for sexy accordion pleated dresses, or shiny fur skirts that peeked out of crisp collared shirts.

Leather was another material that was used in tight dresses and A-line skirts. Ever being hip, Jack and Lazaro kept up with this season’s knee sock trend; however, it came in tights form, which they tried to make slightly imperfect by scrunching them up in some places, or ripping out little sections near the thigh. Plus, being in trend with this fall’s fur trend, they created luxurious fur coats, with lapels made with an entirely separate material.

As the show progressed, Jack and Lazaro’s wild inkblot pattern appeared once again, but in different colors and in bolder usage. There were signature Proenza dresses, but with a more formal feel, due to the collared shirts cut, without sleeves. They experimented with different patterns, such as criss-crossed textures or an intriguing peacock-colored material. The show finished with baby doll dresses, with cutouts underneath you-know-where. These dresses progressed into asymmetrically draped bubble dresses with an abstract flower print. I forgot to mention the shoes – they were really quite something. Their outsides were covered in a sort of chain mail, with straps adorning the ankle of this sexy bootie.

To complete what I must say, this collection was beautifully made, though it wasn’t as eye-popping as last season’s. Critics, bucket-full of cynicism, argue that this collection was too safe, that it didn’t meet the standards that were made from last season. Well, that’s their opinion and mine is mine. And I say that this collection was one of the most well done shows in New York this fall, besides Alexander Wang obviously – because he’s the best of course. So, if not being absolutely awe inspiring that we must bow down at the feet of Jack and Lazaro, this collection exceeded expectations and felt as though the designers put a lot of effort and thought into their work.

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Rodarte: Homespun Perfection


In recent seasons, Rodarte has jumped to one of the most anticipated shows of fashion week. This is because of their onslaught of creativity that constantly excites us and leaves us wondering what they’re going to whip up next – every designers dream. Personally, I have not been the biggest fan of Rodarte due to the lack of finish to their clothes (red yarn trains symbolizing trails of blood anyone?). But at the same time I like to see their collections just to see what they have created, that is “see” from my Macbook computer, but it will have to do until I can go to New York and break into one of the cool shows. But I digress, so, back to the collection.

There were definite influences from Mexican culture; however, they interpreted the culture in a new perspective. For one, the normally vibrant colors used were toned down into a lighter, more romantic color palette. But there were their signature knits worked into the outfits perfectly, and nearing the end, white clingy lace that hung in all the right places. The effect was dreamy and it had a certain ghostly feel to it, always the ominous vibe Rodarte has created.

The silhouettes in themselves were different but appealing. Every outfit had an oddity to it; a sheer light pant thrown under a fringe skirt, or dresses that looked as though they were constructed using strips of different fabric. There was also that ankle sock thing going on that I’ve seen in other collections this season. And I still can’t get over how well done their white dresses were made, from the placement of the printed fabrics overlaying the lace, to the unique styling that is truly only Rodarte.

My one criticism would be again, their home sewn quality that always bugs me because of the lack of finesse that defines good quality clothing. The use of knits and brown hues added to that unfinished look that was copied again and again in sweaters, skirts, and even wide-knitted dresses. However, most of the prints were intriguing, such as the beautifully delicate floral prints that graced dresses ever so often. The mix-matched part of the fabric was the only thing I really liked about the lack of refinement in the clothing.

Moving away from the norm of the sinister tough girl attitude, this collection was a refreshing collection. From their bloody dresses from last season to the white lace dresses at the end of this collection, the Rodarte girl really is a customer of many different tastes. While the construction looked sloppy and in need of a hem, there were some brilliant creative ideas and the lightness to the show was a pleasing surprise.

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The show began in a calm, ambient lighting. In the center of the entrance was a cube, wrapped in velvety brown construction paper. Two spotlights suddenly zero in on Marc Jacobs and his business partner, Robert Duffy, as they tear the coverings off the boxy frame, revealing 56 models standing in a formation that appears both ominous and unyielding. The models all stared robotically at the audience; they were still as statues. Then, the music started, and one by one each model filed out of formation.

With “Somewhere Over The Rainbow” playing softly in the background, a gentle atmosphere enveloped the show. The models started out wearing a lot of grey hues. Grey sweaters and knee length grey skirts portrayed the Marc Jacobs customer, coming in similar silhouettes. From there came oversized coats lined with fur, creating a vulnerability to the model. There were his signature A-line jackets and skirts, coming in an assortment of grey and black hues. Playing with proportions, Marc contrasted light frilly dresses with his signature overcoat, which emphasized the vulnerable, gentle style he was trying to create. These weren’t particularly exciting, but with the slow music, each element conveyed a sense of nostalgia or remembering the clothes that Marc built his brand off of. To most, this is a most welcome sight after his past couple collections have been an onslaught of pushing the limits.

There were some details in the clothing that made this collection refreshing and pleasant to the eyes. Eyeglasses were put on several models, which with the coats, looked very clean and unique. Ankle socks were thrown on underneath chunky heeled pumps, a norm for Marc Jacobs. He also bejeweled coats, cardigans, dresses, and skirts with gold metallic studding. An interesting touch that was subtle in it’s structure was a plastic overcoat that was slightly opaque because of the metallic colors that were somehow infused within the coat, then where the lapels were was fur. There were elbow length gloves, nearing the edge between granny and hip. Throughout the show, Marc Jacobs touched up on his DNA, constructing a romantic sensitivity to his clothing through the use of light bouncy dresses, or the neutral color palette prevalently used in his clothes, and at the end, the use of metallic fabrics to add that little wow factor to his collection, completing the feel he was trying to build.

In all, a very blissfully tranquil show that didn’t surprise but was indeed a great show simply because of the familiarity of it. From a customer’s view, these are clothes they are going to want to buy because of the memory the clothes bring. While this collection was not a new fashionable creation or revolution, the collection had everything in the Marc Jacobs wardrobe, and expressed touching emotions. For all clothes are worth, they’re just clothes, and if designers really want to mean anything, they have to make clothes that spur a connection in the customer, and that is just what Marc so successfully achieved.

Photos courtesy of WWD

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