This is the second part of our round up regarding the fall 2013 collections, which focuses on Prints, Fabrics and the designers’ favorite coming season: checks.
From left to right: N21, Junya Watanabe, Céline, Jesús Del Pozo, Rag & Bone
A mash up of Scottish tweeds, plaids, checks, Prince of Wales suiting and hounds tooth jacquards. Classic, twisted, cut up, patched or blown up to grandiose proportions. These are definitely all from the now – heritage inspired, college prep, BCBG, archetypal and iconic but reinvigorated – rejuvenating tradition at N21 and Rag & Bone, adding a punk coded sense of rebellion at Junya Watanabe or with artful tailoring at Céline and Jesús Del Pozo. Check marks everywhere!
From left to right: Comme des Garçons, Chanel, Hermès, Fendi, Lanvin
Free floating freedom and fun. Cascading swatches of fabrics, rosettes, bows, thick serpentines and bold biomorphic shapes at Comme des Garçons. Rounded flounced belle Époque bustles are a joyful explosion of extravagance at Chanel. Crafted spontaneity at Hermès, fringed skins at Fendi and butterflies appliquéd at Lanvin. All with techno-barbarian enthousiasm. These are exercises in pure texture.
From left to right: Mary Katrantzou, Rodarte, Tom Ford, Peter Pilotto
Welcome to the catwalk circus. Exalted excess in a cultural cross over ranging from glam, to disco, pop to op and manga to Marvel. Fantastical shadowy landscapes in misty monochromes at Mary Katrantzou and cross-cultural multi ethnic Flash! and Bang! at Tom Ford. The very personal folksy mysticism of Rodarte and the cartoonish verve of Peter Pilotto. We are talking maximalism here!
Stylespot is a collaboration with Stijlinstituut Amsterdam
Nothing as rewarding as summarizing after a grand series of shows. First of all you just note likeness and all similarities. Starting to pick out the headlines it becomes clear that there is always something really exiting to spot! Same procedure for fall 2013. Next to continuous retrospection there was introspection – designers looking inward to find a personal way of expression and re-finding their personal signature. The ones who did, did not dive into trends, the trodden paths of competition, but sourced for their most intimate inspirations. The happy aftereffect is that we met moments of sincere emotion and passion. The most beautiful quote to conclude this was coming from Miuccia Prada: “Who cares about the dress?” she said, this is about “Stories of women and life,”, Phoebe Philo declared backstage after her show for Céline: “It was coming from a place of emotion and intimacy, something instinctive. There was softness and desire, to create something emotionally engaged.”
Some collections might not have had the shock of the new and many showed that swift notion of the mid-century modern. Most interesting it was when a faint whiff of nostalgia was balanced with nowness. A lingering trend we spotted was the eccentric mixture of nostalgic wallpaper florals, art nouveau, Scottish heritage, Art Deco and Liberty blooms. All simmering in romance.
The buzz words where: intimate, feminine, elegance and emotion. Not just the collections played their roll. In some cases the interest in settings and sceneries became predominant. The Vuitton show unrolled like a silent movie. The mood was the 1920s, as the models came through each door on the corridor that was the hotel set. An atmosphere just as cinematic was the Film Noir setting at Prada – a spinning ceiling fan, shadows cast by blinds, a woman silhouetted in a doorway, waiting for…? All by means of an artful back projection. Miuccia launched her exercise in fashion as cinema.
Another hot topic was warmth generated by tactile softness. Cuddly, fluffy and sheltering. The number of soft and brushed looks grew steadily during this catwalk season. Especially coats where cuddly and generous in proportion. For some designers softness was the covering theme. Hernandez for Proenza Schouler stated: “It was all just soft, that’s the one word we were thinking about. Softness of form, softness of color, softness of texture.”
To wrap this up we point out that coats took the lead. Generally and globally this item won when it came to presence and quantity as well as quality of design. So passion, warmth, softness and coats. Setting the stage for an ice age!
We picked the frozen cherries for you, straight off the international catwalks in New York, Milan and Paris.
From left to right: Rodarte, Saint Laurent, Louis Vuitton, Chloé and Prada
From pure exposure to more subtle revelations – intimacy exposed at Saint Laurent, emerging womanhood at Chloé, modern romance at Rodarte and passionate nostalgia at Vuitton and Prada. Sensuality and emotions unraveled in cinematic atmospheres showed femininity ‘under cover’ – soft lace hidden under long tweed coats, fluffy sweaters came with a slip of a skirt and velvet dresses had a swoop of neckline.
From left to right: Jil Sander, Victoria Beckham, Hermès, Rochas, Ports 1961
A true timeless elegance flooded the catwalks at Jil Sander, Victoria Beckham, Hermès, Rochas and Ports 1961. Much more serene, feminine and sensual then the calm sobriety we faced seasons before. All soft and rounded. The skirts flaring just below the knee, showing true elegance in New Look proportions. Jackets elongated and slightly suppressed at the waist and coats – mannish and reassuringly oversize. All breathed calmness with lasting value in an esprit ranging from ‘Bon Chic Bon Genre’ to Film Noir allure. Slow, calm, quiet and with lasting value.
From left to right: Alexander Wang, Stella McCartney, Céline, J.W. Anderson, Lacoste
Concrete caught by the fuzz. Grayed-out and foggy marls were key for fall 2013. Brushed mohair, heathery and airy fleeces, compact felts and tarmac shaded double-face and bonded materials. This all added up to strange and sculptural beautiful cloths. Asphalt fleece and mohair knits are paved with iridescence at Alexander Wang, Stella McCartney wrapped her models in pinstripes, where Céline knotted hers in felt touch woolens. Monastic tunics at J.W. Anderson and fossil florals at Ports 1961.
Stylespot is a collaboration with Stijlinstituut Amsterdam
Cosy is not the usual aspect spotted on a Paris catwalk. But nevertheless we met a snug bedtime spirit in Paris with models flaunting out of hotel rooms in silky, lush pyjamas, lace-edged-negligees and flowery dressing gowns. Roomy, soft robes that showed the generous proportions of menswear. Sensual and intimate voluptuous bathrobes lined in marabou. Fabulous, sheltering cashmere wrap-coats in baby blue, pink, camel and blush in smooth, winter-weight woolens and brushed plaids. And thick silk pyjamas printed with English tweed patterns or tender China florals.
Softness and desire seemed a re-found aspect, in touchable styles that established an intimate dialogue between the masculine and the feminine.
Carven is rounding out with oversize coats in teddy bear textures. Cinematic sceneries at Vuitton, in a film noir esprit, showing various states of dress and undress in a midcentury inspired atmosphere. Stella McCartney goes square, though softened, in snugly, velvet touch robe coats.
We noted a refreshing sense of ease, slightly quirky and off beat and an inspiring invitation to cuddle up.
Stylespot is a collaboration with Stijlinstituut Amsterdam
What are you wearing during the fashionweeks? Your Celine-shoes, your latest Raf Simons-sweater or that vintage Gucci? Maybe we’ll spot you in Paris, Milan, New York or Amsterdam. During the fashionweeks we refresh our streetwear posts regularly. We don’t judge, we’re not the fashion-police, we just enjoy fashion and your own personal style. Last stop: Paris Fashion Week fall/winter 2013.
After working so hard at her Prada collection, the designer Miucca Prada wanted something visual and sporty for her Miu Miu-collection. But also something that was a bit frivolous and romantic at the end. But why she did what she did the designer could not explain. It was just instinct she told the press.
The silhouette she presented was new for-Miu Miu with the long coats and sweaters worn over longer skirts that revealed the ankle. The look seemed rooted in conservative, early 1900s nostalgia. One ensemble — a fitted black jacket with big round buttons and orange astrakhan collar, worn over a polka-dot skirt with an orange ostrich carpet bag and silver Mary Janes — brought to mind Mary Poppins.
There were sporty jackets and belted bodices cut out of quilted navy-blue nylon with pronounced zippers, big pockets and ribbed knit cuffs and hems. The clownish motifs that were used sparingly as styling effects at first, escalated to full looks by the finale of chic cut coats in pink, yellow and baby blue.
That was grunge-de-luxe what Marc Jacobs designed for Louis Vuitton. A bit ironic and provocative, but in a beautiful and sensual way. And melancholic. The set was a circular “hotel” constructed within the vast tent pitched in a Louvre courtyard. The wallpapered corridor housed 50 closed doors which the models opened and exited. The audience became voyeurs, as each “room” featured projections of hotel guests lounging and getting dressed, unaware of the scores of peering eyes.
Jacobs focused on the intimate sartorial gesture: slips, pajamas, robes de chambre. These were paired with some of the season’s best coats and jackets, worn in odd combinations — proportions deliberately awkward, colors sometimes off.
The pieces were gorgeous: a herringbone pattern made entirely of embroidered sequins; voluptuous robes lined in marabou. Some coats came in cashmere with deep borders of dégradé sequins; others, in thick silk printed to resemble English tweeds.
Of course, there were Vuitton bags – but without a logo in sight. Jacobs interpreted the house’s classic shapes in tony materials — croc, python, mink and hand-curled goose feathers — often finished with carved ebony or wooden handles.
What are you wearing during the fashionweeks? Your Celine-shoes, your latest Raf Simons-sweater or that vintage Gucci? Maybe we’ll spot you in Paris, Milan, New York or Amsterdam. During the fashionweeks we refresh our streetwear posts regularly. We don’t judge, we’re not the fashion-police, we just enjoy fashion and your own personal style. Next stop: Paris Fashion Week fall/winter 2013.
Held at the OTT Opéra Comique, Sarah Burton closed the fall fashion season with a collection of just ten pieces. Divided into five themes (communion, nuns, cardinals, popes, and angels) the designer, who just gave birth to twins, presented two dress variations for every theme. “From communion gowns to cardinals”, read the show notes, as we tried to take in every single detail of the ten extravagant, angelic appearances full of various religious iconography. It might have been just ten looks, with models covered head (literally, since all girls sported heavy decorated masks) to toe in handcrafted, pearl encrusted lace ensembles, Sarah must have had her hands full. And why would you show so much more of the same thing, when you can perfectly convey your message with just a small selection. A smart fashion lesson to learn, right at the end of this Paris Fashion Week.
Elegant, French, chic; some words to describe Christophe Lemaire’s fall collection for Hermès. Oh did we mention French? Held at the Lycée Henri-IV library the setting breathed unlimited luxury, as did the clothes. Only the best materials (fur, suede, leather and the best cashmere) were used for Lemaire’s effortless, classic looks. A white shirt, camel coat, black leather pants, a selection of loose suits and a black belted dress appeared timeless too. Although modernity was added in mid calf skirts, the way materials were mixed and a certain androgyny. The fresh faced French looking models carried every ensemble with maximum grace as coats and scarves tossed on their shoulders gave them just that careless touch that makes French style so desirable.
After Jeanne Labib-Lamour. Giles Deacon. Esteban Cortazar. Peter Dundas. Vincent Darré. Giambattista Valli, Estrella Archs and Lindsay Lohan, Fausto Puglisi is the latest creative making an effort to revamp Emanuel Ungaro’s label since the designer’s retirement over ten years ago. And the Italian designer did so by incorporating his own signature into the geometric, colorful heritage of Ungaro. “I wanted it to be very Ungaro, but with a graphic approach”, he stated backstage, before he sent out his party dress, short skirt, silk blouses and duo colored pants. He divided his tops and bottoms into parts with contrasting colors and prints. Bright yellow, blue, black, purple as well as polka dots and leopard prints. In line with his own work Puglisi added tons of golden (baroque) embroideries. A polka dot skirt with a black and white, structured turtle neck sweater embodied the perfect mix of sexual and fashion. We’re curious to see where Puglisi can take this.