28/10/2014

Cape: A Fall Revelation

During the Fall/Winter season, one cannot avoid speaking about coats, yet this year offers a pleasant alternative to the usual outerwear: a cape, seen both in the casual poncho, as well as a more elegant version. Long before it debuted on catwalks and shop windows, the cape was used on the streets of medieval Europe. At that time, a cape would have a good, often decorated with beans and crochet-like detailing. In collective memory, the cape is also remembered as the typical vêtement of Roman Catholic clergy as well as one of the recognizable dresses of bourgeois or noble women.

The inspiration for this contemporary Fall version of a traditional cape comes from different spheres; Valentino followed two paths, one focused on leather and optical prints, and the other on embroidery and tighter silhouettes. Barbara Bui, on the other hand, oriented herself towards huge shapes and monocolour – almost exclusively ivory and black – while the knit-work gives the outfits a warm and comfortable feel. Yet, the real fashion surprise of the year could be seen on Burberry Prorsum’s runways, with capes of an entirely new form becoming the show-stoppers. The brand’s blanket-like capes were rendered in interesting patterns and combined contrasted colours for a casual yet unbearably cool appeal.

Francesca Crippa 
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27/10/2014

Style Suggestions: Olive

Deep green and khaki tones are back with a vengeance this Fall/Winter so replace boring black with a touch of olive. From accessories, knitwear to woolen coats olive green is a colour that will transcend the trends.

Hat: Federica Moretti, Coat: Valentino, Pants: Andrea Incontri, Booties: Gianvito Rossi, Bag: Giorgio Armani

Styling by Vanessa Cocchiaro 

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24/10/2014

The Future of Fashion is Now

Is it time to change the fashion system? An industry which is built on the idea of novelty and a system which is moving faster and faster in the hunt of being the first with the latest, has made many designers questioning the rules and ideals of the fashion system. In the fashion exhibition “The Future of Fashion is Now” (on show since the October 11th 2014, running until the 18th January 2015) at the Museum Boijmans Van Beuningen in Rotterdam, young and innovative designers are presenting interesting alternatives.

The exhibition focuses on four current themes – the exploration and development of innovative materials and production, sustainability, body ideals and fashion activism, that all are portrayed by pieces from both established and young designers from all over the world. Among the many talented designers whose work is being exhibited (Viktor&Rolf or Hussein Chalayan, to name just a few) is Pauline van Dongen who has used portable solar cell when creating prototypes of clothes. In opposite to other wearables, she is using the many possibilities of the solar cells in the creation of different structures and finishes – which results in the solar cells improving the design of her items instead of simply becoming items with cool effects.

Another completely different sort of fashion study exhibited, is the Biolace project from Textiles Futures Reachers Center in London. They are studying possible solutions for the task of dressing a world population which is predicted to become nine billion within a couple of decades. The solution could possibly be a strawberry plant called Fragaria Fusca Tenebris which, besides growing black strawberries and being a great source of vitamin, produces black lace from its roots.

The fashion system is not separated from the challenges the rest of the world is facing, even if we sometimes pretend it were. This exhibition is therefore an important eye-opener to some of the challenges of today and tomorrow – as well as their possible solutions, showing that the fashion system maybe not have to change, but it might have to become better in adapting itself.

Hanna Cronsjö 
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23/10/2014

Foulards for Men?

Who said scarves were only for women? The last Fall-Winter catwalks have proved the opposite, by showing a proud idea of a man wearing scarves with elegance, ease and class. The French term “foulard” usually indicates a smaller or bigger cut of silk, adorned by pattern and illustration. While we already saw urban men sport the trend some seasons ago, this time the vibe is completely different.

Prada, for example, took inspiration from the Seventies, choosing a contrasting color palette, comfy and casual – in a way typically masculine – silhouettes and, to add a sort of an eccentric detail, she created tight, color-blocking scarves.A completely different approach was the one seen on Burberry Prorsum’s runway. Here the foulard was particularly large, with models walking along the catwalk wearing them fiercely, laid on the back and tied with a knot on the front; resulting in an overall girlish yet masculine aesthetics.

Although the alternative uses of the accessory proposed by these brands are still not very common, its traditional use still very much persists. In fact, the season’s runways showed the original pocket-handkerchief revisited by Andrea Pompilio in strong and impact colors, or that rendered in a typically West Village mood, created by Yohji Yamamoto. In whatever way men should decide to style them, the foulards will always remain a synonym of timeless elegance.

Francesca Crippa 
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22/10/2014

Memorable Fashion Moments in Horror

Rather than being a soft chill that goes down your spine, horrific fashion moments are more similar to an epiphany: stored in the back of your mind as a future reference for dress and style. Despite being known for their macabre effect, horror films from the past have had intriguing moments of fashion that can still be an inspiration today.

After Mia Farrow’s character in “Rosemary’s Baby” cuts her hair, the movie takes an unexpected fashionable turn. Her look with a blonde boyish hairstyle and baby-doll dresses created an alternative to both Twiggy and Edie Sedgwick style, putting an even edgier and raw spin to it. Few horror directors are quite as renowned as Alfred Hitchcock. He made us all fear showers, neighbors and, naturally, birds. In his infamous film “The Birds”, Tippi Hedren wears a mint green suit which built a soft contrast to the harsh reality she was about to face. Previously the same suit had been worn in “Rear Window” by Grace Kelly. A fashion icon herself, there seemed to be little effort from Grace Kelly to turn anything she wore into a fashion statement. And just as “Rear Window” can be considered a fascinating thriller it can also be viewed as a fashion show for the 1950s when Grace Kelly’s fashionable character showcases something new in every scene she appears in. Her black and white evening dress showcased her royal standing, as a remarkable prophecy for her princess years. Natalie Portman’s movement in “Black Swan” was highlighted by the beautiful tulle and feather creations made by Rodarte. It was not only great for the center ballet stage, but also made a powerful visual impact creating an iconic movie moment which was quickly adapted by designers and laymen alike.

The horror genre may be considered as sub-par within cultural circles. However it’s not only made from frames that capture fears. Horror indulges in layered characters creating unexpected and memorable experiences on screen, where fashion takes central part in creating both these characters’ traits as well as bringing fears to life.

Victoria Edman 
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21/10/2014

Peter Lindbergh: Beauty and Truth in Fashion

When John Keats wrote ‘Beauty is truth, truth beauty’, he intended that art could sublimate and immortalise beauty and make it eternal, and that truth was to be found in this crystallised idea of beauty. The only place where truth and beauty finally cohabitate is art. From the moment that fashion photography entered the sacred perimeter of the institutions – both the museum and the gallery – it legitimately stepped inside the art world as one of its branches (one of the most profitable, at that). The new retrospective that recently opened at Gagosian Gallery in Paris dedicated to Peter Lindbergh reaffirms this bond between art and fashion photography.

The first solo show dedicated to the fashion photographer in Paris in a decade, the exhibition features works from his 30-year-long career, which saw Lindbergh collaborating with the set of models, designers and editors who still guide the fashion world nowadays, while remaining faithful to his own heritage and aesthetics. Lindbergh is the author of the non-glossy editorials for glossy magazines, such as Harper’s Bazaar and Vogue; he was the first to celebrate the unpolished truth of the defect within the context of glamorous allure of fashion told through images.

The exhibition features the most iconic Lindbergh’s works, all in his signature black and white; from the shots depicting ‘supermodels’, whose myth Lindbergh contributed to create, both with editorials and expressive portraits; to images inspired by modern dance, in which he tried the impossible, succeeding to capture the compelling power of movement. Some of the photographs are in large scale, which allows the user to dwell on the use of light and shade, forms and details. The exhibition’s structure allows for an analysis of Lindbergh’s style and for an overview of the most recurrent themes or obsessions; the differences in the repetition, the limbic atmosphere, the shades of the human body, but above all the faces: eyes, hairs, mouth, nose, skin; the power of the non-retouched glaze, contaminated only by the vagueness of a trace of mist, a puff of smoke.

Peter Lindbergh once said “I don’t think real beauty can exist without truth”, reaffirming the principle that sees beauty and truth inextricably linked, even in fashion photography. With styling reduced to its minimum, un-set poses and raw locations – metropolitan or uncontaminated – Lindbergh applied to fashion his bold and essential language, which, on the contrary of what proposed Keats, portrays truth to reveal beauty.

The exhibition of Peter Lindbergh’s work will run until November 22nd at Gagosian Gallery in Paris.

Marta Franceschini 
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20/10/2014

Style Suggestions: Explorer

At times, urban life can require a bit of extreme clothing choices: here is a selection of some of the coolest explorer-style pieces brought from the mountain to the city streets.

Backpack: The Superior Labor x President’s, Jacket: Roy Roger’s, Shoes: Santoni, Beanie: Zegna

Styling by Vanessa Cocchiaro 

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17/10/2014

Mirja Pitkäärt: Function or Fashion

Mirja Pitkäärt, an Estonian designer based in Paris, is balancing her work between practical aspects of designing and more conceptual perspectives – with the result of developing accessories that are out of the ordinary. The work of the Central Saint Martins graduate and winner of the International Talent Support accessories award, includes both wooden bracelets, boxes that looks like they were made of stone and innovative iPad cases. All of her different pieces have, despite their differences in style and material, some common factors which speak about the designer’s philosophy and approach to creative practice.

The natural elements are very present in Mirja Pitkäärt’s work, among which stand out materials like wood, stone and leather, used to build a soft and natural appearance. Along with natural influences, industrial design has a distinct impact on her design aesthetic, expressed through clean and simple shapes. This mix of influences and design references creates a very unique and individual aesthetic, however the thought process behind industrial design production and its relationship with fashion permeates Mirja Pitkäärt’s work. Interested in the idea of design “that sits between product and fashion”, she challenges the idea of wearable and practical accessories through objects that often seem rough, conceptual and crude.

This idea is the most central aspect of her work and can be clearly translated to all of her pieces. While some of her products hide different stories about their use, other borrow their identity from simple tools and everyday shapes, like the comb. As such, Mirja Pitkäärt’s designs question the conventional thoughts about how the modern accessories should look like and be used: in a society that is, despite constant development and progress, sensitive to the unconventional, this approach is very much needed.

Hanna Cronsjö 
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16/10/2014

The Future of the Fashion Show

The concept of the fashion show, being as simple as it can be, hasn’t changed for years. Even though it involves a lot of planning, a large amount of resources and energy, it all comes down to a model walking up and down a runway showcasing the clothes. But, just like every other element of fashion business, runways make designers stand apart in the crowd. Thus, what is that secret ingredient that really turns a show into a memorable one? For the Spring/Summer 1999 collection Alexander McQueen had a model in a minimalistic white dress rotate in front of two robotic arms which spray painted the dress in different colors. It was a moment when technology fused with fashion history, adding to the eerie quality of McQueen’s clothes and making the collection stand out in the crowded fashion week schedule.

With the surprise factor being ever more difficult to obtain only through clothes, designers are now looking to change the way fashion shows are presented. Last year, Rick Owens had his spring collection dance down the runway by step dancers in a spectacular show that enticed many, changing, at the same time, the perception of what a runway show could be. With a simple, yet out of the box approach, the collection was given a fierce spin. On the other spectrum of runway innovation, this season’s Lanvin collection turned out to be the talk of town by distancing the fear of aging from the center of fashion industry. The renowned fashion house had Violetta Sanchez — Helmut Newton’s 80s muse — open the show, while it also featured other catwalk veterans in their thirties and forties, including Kirsten Owen and Amber Valletta. Walking alongside younger girls, they captured the elegance of the clothes exquisitely and showed that age is just an insignificant number.

Today, fashion has shifted from an elitist business to something everyone can enjoy. The same can be said about fashion shows. They have become an entertainment business for the masses, whith models running up and down the runway simply not being interesting enough. The runway has gradually become increasingly more dramatic, with elaborated scenery – the master of which is certainly Karl Lagerfeld with his exuberant shows for Chanel. While the runway models are getting a (slightly retro) update, it appears that the evolution of the fashion show can hardly stop there.

Victoria Edman 
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15/10/2014

Knitwear is the New Black

Wool is the winter fabric par excellence, yet what we saw this season is a literal knitting invasion. Not only in the form of classic sweaters, the fabric also came in the exciting form of pants and bags. The most innovative look was the one presented by both Stella McCartney and Céline. Extra large shapes for the first, long flared pants –with partially covered shoes – long sleeves and tight silhouettes, for the second. The color palette is pretty similar as well, with the choice of beige, light shades of brown and grey, serving as a statement with the aim to promote ease and warmth in winter-wear.

Marc Jacobs followed the same path by underlining a Sixties mood made of sober knitted suits. The tendency of using in the wool in a different, more sophisticated manner comes even from classy brands: Alberta Ferretti and her refined sweater are a sweet proof of the new approach to knitwear.

On the menswear side, we saw an attempt to involve a wider use of the material in collection such as J.W. Anderson – the sort-of-poncho with a turtleneck that is so feminine yet equally suitable for men – and the maxi, blanket-like cover-ups from Missoni. It seems this year fashion has finally decided to let us cover ourselves up and enjoy the comfort of being warm, without giving up on style.

Francesca Crippa 
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