Stuart Vevers’ 25th collection for Coach focussed to his starting place, the shearling. He revisited some favorite sources of inspiration, such as Terrence Malick films and the Great Plains.
This time, though, he did a style mash-up by mixing prairie with Eighties hip-hop. The tomboy was also a reference point. But with the Smashing Pumpkins’ “1979” playing throughout, and a voiceover from “Badlands” spliced in, Vevers’ prairie-hip-hop combo took on a grunge feel.
Currently, outerwear is king. Shearlings were distressed with raw edges and floral and eagle embroideries all over. Vevers pushed the shearling idea even further with a dyed hoodie style with intarsia floral designs and a full-length topper coat that was dyed several shades of brown.
Victoria Beckham brought a tailored, soft and modest collection on stage yesterday. By using rich-but-grounded colors, like navy, oxblood, red and orange, and reworking classic men’s tailoring with square blazers and full-leg trousers, Beckham sent a subliminal message of strength. A woman in a sharply cut burgundy coat over fluid pants with a dashing foulard swishing under the coat is dressed to be taken seriously.
Even rounder, curvier and more fluid stuff, such as a red chiffon dress under a navy blazer, a navy sweater with sculpted sleeves and tie-waisted trousers, and body-skimming jersey dresses in graphic swirled prints inspired by Paul Nash, had a determined air. Likewise, the impressive shoes: pointy flats with double buckles and sturdy boots — wedges and high heels.
Raf Simons made his debut as chief creative officer at Calvin Klein with a collection thrilled with smart, powerful clothes for women and men. Everything surrounding the clothes sent out a message of efficiency and pragmatism.
His inspiration was all about the U.S. American youth – which is the future for this country. So the collection turned out to be minimalistic, but in a modern sense packed with American references both general and Calvinist. The former category covered workwear and How to Make an American Quilt Parka.
As it turned out, Simons didn’t go near the Seventies, preferring Klein’s tailored Nineties. Despite the stated inspiration of young America, the collection wasn’t all that young. The clothes will appeal, too, across gender. Throughout, Simons showed his-and-hers versions of like concepts, some nearly identical. There were buttoned-up shirts tucked into hip-slung trousers with bright athletic stripes down the sides; matching denim; those sheer Ts over men’s wear fabrics — his, pants, hers, a trouser skirt; spectacular mannish coats under a layer of slick plastic. The tailoring continued in perfectly cut men’s suits, some in vibrant colors; others, classic checks. For women, he also showed vibrant ribbed knit skirts and plastic-sheathed feathered dresses, their silhouette inspired by the house archive.
To state Viktor & Rolf’s couture collection was breathtakingly beautiful would still be an understatement. Their collection of broken dreams was simply stunning from beginning to end. Inspired by Kintsugi (the Japanese art of repairing broken pottery with lacquer dusted or mixed with powdered gold, silver, or platinum as it’s breakage and repair are part of the history of an object) the Dutch design duo cut up old vintage gowns and used pieces of them on their brand new designs (quite the sustainable idea). Attached with a gold or silver lining around it, just like the cups and bowls you’d find after Googling ‘Kintsugi’. Now in case you thought this game of cut and paste would make the couture pieces end up like rag dolls, this was definitely not the case. The pieces gave the new looks, which were already stunners, extra value, a deeper layer. The color scheme (that moved from brights to pastels) worked gorgeously as did they interplay of sheerness, highly decorated jacquards, polka dots, checks and thick layers of 3D tule. Viktor and Rolf even pulled off some impressive couture pants. And believe it or not this collection even appeared quite wearable (given that it was haute couture and Viktor & Rolf). The finale of five different (broken) dream dresses was every girls fantasy. The deep green cut-outs attached to the light pink gown (look 28) was the perfect couture gown mash up. Couture collage done like only Viktor & Rolf would. Can you tell we’re head over (their shiny, ankle strap) heels?
An all black room covered in zigzag white lines awaited us at Iris van Herpen couture show today. A show that was about so much more than just presenting a new collection. The New York Times already titled it a ‘meditation on distortion, visual and psychological’. Iris herself named it “the imperfections of systems and structures in both the physical and digital worlds”. What we witnessed was an impressive line-up of true pieces of art. Using the newest of techniques, laser cutting and 3-D handcasting, Iris came up with the most delicate geometric ‘dresses’ that through optical illusion seemed to pulse to the rhythm of the music. Dresses perhaps with a simple fit, but extraordinary in their execution. Full of nature inspired patterns and textures with some stunning, mind blowing silhouettes. Designed to make a statement, explore the possibilities of fashion technology and leave room for multiple interpretations. Tempting haute couture customers to actually buy and wear one of these dresses is the least of Iris van Herpens worries. She designs for the love of art and her creations end up in museums more often than they do at red carpets. A place where the final piece, a transparent water drop / crystal splash dress, definitely deserves a focus spot. A design a museum visitor could stare at for hours, while it changes with the rays of light. A modern technology driven design Iris managed to turn into a dress that actually spoke about delicacy, elegancy and sensuality. “Oh my god. These Iris Van Herpen pieces just changed the game”, said an attendee on Twitter. And Iris may have done just that.
Our own fashiondictionary Magic Block A device catwalkphotographers use at the platform in front of the catwalk to elevate a few inches. They need to be higher than the person in front of them. Most of the time it's made of superlight material, made by NASA. Nicknames: Sushiblock, Catalan Cake and Dutch Cheese