05/03/2015

Tales of Two Cities (and Styles): YSL and Halston at FIT

In 1973, the Château de Versailles hosted one of the events rightly remembered as one of the milestones of recent history of fashion. Known as the ‘Battle of Versailles’, it was a fashion show which saw opposed five well-established French fashion houses and five new recruits who were dictating style directions on the other side of the Atlantic. The French maisons were Pierre Cardin, Emanuel Ungaro, Christian Dior, Hubert de Givenchy and Yves Saint Laurent, opposed by Oscar de la Renta, Stephen Burrows, Bill Blass, Anne Klein and Halston. The show took the shape of a competition, whose main merit was to underline, once for all, the distinctive ideas at the basis of design in Paris and in the US, respectively.

The exhibition now on stage at FIT seems to be a reprise of one of the five direct confrontations which took place during 1973, the one which saw Halston and Yves Saint Laurent directly opposed one to the other. Curated by Patricia Mears and Emma McClendon, Yves Saint Laurent + Halston: Fashioning the 70s runs through the iconic creations of both designers, focusing on differences and similarities in vision, path and outputs and trying to extend the discourse around the 70s, a period for so long set aside and which is coming again to the fore in the latest collections seen on the runways.

The exhibition holds about 80 ensembles and 20 accessories, all of them selected from the FIT’s archive, and is thematically subdivided into three areas: menswear, exoticism and historicism. The isolation of these three themes is useful to analyse the different approaches to common inspirations and shared imaginaries, which led to the delineation of two precise aesthetics. While the clothes shown can be confused or wrongly-attributed at a first glance, a thorough observation of them in comparison highlights the diverse sensibilities for forms, constructions and above all details, which carry the mark of the environment in which the two designers lived and worked. This juxtaposition of messages colonises the set – and the atmosphere – of the exhibition, which becomes in this way a territory somehow hybrid: between the stroboscopic lights of Studio 54 and the gipsy-esque attitude of bohemian Rive Gauche.

It is an occasion to reflect not only upon the work of the two designers, who still dominate the idea of the 70s we have nowadays, but also on the territorial characterisation of fashion itself; Halston’s tan ultrasuede shirt dress and YSL’s Safari Jacket are blatant examples of two dissimilar ways to read and interpret history and sources in general: the first epitomises a predilection for clean lines and basic, extremely easy design, while the second is synonymous with a more solid relationship with inspirations, which always win over commerciality. Two strong and overt directions, which can still be found in the collections showing in the two fashion strongholds: Paris with its eccentric chic and rampant and pragmatic New York. Nevertheless, the title of the exhibition, with that little plus between the two big names, proposes an addition more than an opposition; maybe suggesting that, while discussing the fashion of today, we should stop thinking about the place itself and restart from the basis – in other words, from design itself.

Marta Franceschini – Images courtesy of FIT 
04/03/2015

Scholten & Baijings: Reproducing the Shape of Thought

In the past decades, many attempts have been made to systematically organize and describe design practice. Questions about purpose, context, media, tools or use are often brought up with the hope of answering what design is and fitting its multifaceted realities into precisely defined categories. Yet, it is unlikely that design is ever going to adapt to any of those laborious categorisations, for it is in its very nature to remain elusive and continue to transform. In fact, design practice is at its best precisely when it refuses to be moulded, shaped and contained. Nevertheless, should we be determined to penetrate the complexity of design’s geography today, we’d have to look at how designers design. Design process – a medium in itself – offers a glimpse at how thoughts, ideas and concerns are transformed into material shapes, how they become the landscape of ‘things’ that define the world today.

Design process is at the centre of a new book, published by Phaidon, that attempts to categorize the work of Stefan Scholten and Carole Baijings, the Dutch design duo founded in 2000. In fifteen years of practice Scholten & Baijings have given shape to a particular kind of design, concerned with the visual language and transformation of conceptual vocabularies into three-dimensional patterns. Though reluctant to engage with social or political concerns inherent in any designed product, their work is valuable as it transforms design process into tangible, material forms. One of their most famous projects, a series of porcelain tablewares for Japanese manufacturer 1616/Arita Japan, is a systematic transformation of design thought into a collection of objects. Questions of colour, materials and form and their relationship to tradition, purpose and manufacture were translated into three different series of porcelain services – minimal, colourful and extraordinary – each becoming a synthesis of a specific approach to design.

Thus, it is no wonder, that “Reproducing Scholten & Baijings” attempts to bring this material discussion on design process into a two-dimensional space. Created in collaboration with Maharam, one of Scholten & Baijings’ most interesting clients, the volume gives shape to a reconstruction of design process, seen as the most authentic and unmediated way of engaging with and understanding their work. By flipping the pages – a collection of drawings, sketches, colour swatches, samples, models and photographs – a clear and straightforward visual pattern of thought emerges as a story, not so much about objects in themselves, as about how and why they need to exist. As Michael Maharam says, “Apart from the quality, thoughtfulness and utility of their output, Carole and Stefan have succeeded in creating a highly legible and cohesive embodiment of their vision.” Scholten & Baijings‘ work is significant because its material reality displays the shape of thought.

Rujana Rebernjak – Images courtesy of Scholten&Baijings and Phaidon 
04/03/2015

Milan Fashion Weeks: Accessories

Accessories are always the key pieces which add that special something to a style, yet are too easily overlooked. The accessories for Fall/Winter 2015 season on Milan’s runways were mostly a visual discussion on how to add elements to basic looks with perfect details that make it individual.

Headphones: A couple of seasons ago it was Chanel that did a pearl version of the headphones. This season, Dolce & Gabbana presented headphones “blinged out” and in combination with a crown. It gave a urban feel to a collection otherwise dominated by vintage fairy-tale flair and proved that headphones have become an important accessory in more settings than just streetwear.

Fur Trim: Even though many fashion houses went all out with the full fur coat it was the trim or details of fur on pockets, collars or simply thrown over a shoulder that could be seen at almost every show. For example, at Alberta Ferretti a dark cape and its white fur collar created a sense of mystery. At Fendi the shoes were covered in fur. Fur details created a juxtaposition between elements while maintaining the tone of the season. Aigner, on the other hand, proposed a new take on the concept of layering.

Victoria Edman 
03/03/2015

Milan Fashion Week: Prints

A part from the classic prints, such as pinstripe and checkers, a few patterns from the runways in Milan made a memorable entrance and helped to keep things interesting. Wear these prints in unison for a bold total look or add a hint of fantasy to update your wardrobe for the next 2015 season.

In Writing: The pen is mightier than the sword, and allusions to this timeless saying were spotted at both Moschino and Dolce & Gabbana. Dresses in classic clean styles stood out among the crowd, with drawings and graffiti mimicking a collision of innocent youth and grown up grace.

Nature: Florals on ruffles, draping and see-through fabrics played a key tune on several Milanese runways. Gucci showcased a high-collar, long-sleeved dress with a vintage flower print, while Blumarine applied a similar pattern to a long sleeved see-thorough maxi dress. N°21 had frills and ruffles adorned with white and black flowers creating an illusion of abstract birds. It all brought a hint of spring to the Fall/Winter season.

Kaleidoscope: Pucci and Missoni stayed true to their iconic prints, implementing them in a more abstract version of their historical parents, therefore bringing a bold Seventies vibe to the runway. The racy print in black and white at Byblos intrigued the eye with optical illusions demonstrating how one can accurately combine prints.

Victoria Edman 
02/03/2015

Style Suggestions: Fashion Week

We are mid-way through the Fall/Winter fashion week season, so it’s important to keep your looks fresh and vibrant, even if you are feeling worse for wear. Sneakers are always a good option to look cool and stay comfortable.

Jacket: Saint Laurent, Sweater and skirt: The Row, Sneakers: Y-3 by Raf Simons, Sunglasses: Prada, Necklace: Ca & Lou

Styling by Vanessa Cocchiaro 

02/03/2015

Milan Fashion Week: Colours

During the Fall season, black is usually in the lead with the guest play of jeweled tones. During the past week on the runways of Milan, there were, however, a few other colors that were taking over the field.

Red: Bright red or shades of burgundy worn from head to toe were seen at shows such as Pucci, Versace and Salvatore Ferragamo. In combination with a cape or long flowy sleeves, red elevated the looks to regal finesse.

Light pink: As a continuation of the pink trend from SS15, a lighter version vas presented at Prada, N°21 and Marni, each with an edgier structural style showcasing the importance of feminine power dressing.

Black, white and yellow: This color combination is no longer just a licorice treat: it could be seen in numerous variations on the runways of Jil Sander, Bottega Veneta as well as Roberto Cavalli. The yellow was in contrast with the established monochromatic look, adding a splash of whimsy to the sophistication of the black and white uniform.

Victoria Edman 
27/02/2015

Stilnovo: Lights for Italian Practical Grace

Re-editions in design are the new black. No matter if this happens because our times seem unable to express a new, totalitarian total look, or because they are enchanted by a reassuring, long-lasting vintage mania: in any case, an increasing number of companies – Molteni with Gio Ponti, e15 with Ferdinand Kramer, and Vitra with Jean Prouvé, just to mention a few – have been seduced by the idea of updating the past as an effective and desirable strategy for attracting new business niches. Lighting companies are not excluded from the fray. After Le Corbusier’s Projecteur 365 by Nemo Cassina, it is up to an Italian icon from the Maestri generation, Stilnovo, to officially unveil its upgrades with an exhibition at Galleria Carla Sozzani in Milan. Here the numerous, nostalgic public of this protagonist of the “bel design” has the chance to discover a new collection of re-editions and new prototypes finally gone into production after forty years.

Founded in 1946 by Bruno Gatta, Stilnovo rose to prominence as one of the most successful Italian lighting companies of the post war period. In a time of great economic and social rebirth for the Belpaese, Stilnovo stood out with its search for a new bourgeois taste, both practical and sophisticated, and yet keen to experiment the ultimate technological innovations. After being confined to the realm of auction market for a long time, the company has been relaunched by two Italian entrepreneurs, Massimo Anselmi and Roberto Fiorato, who aim at protecting its great cultural heritage. A scientific committee, composed of design historians, sociologists and architects, has been established to enhance its industrial heritage and to lead its brand values to the XXI century. Stilnovo’s revival, thus, is not limited to a technical update but becomes – as the committee has written in the company’s manifesto – an “advanced laboratory and cultural stimulus: a facilitator of and testimony for Italian design around the world.”

This transformation, by no accident, reflects the very meaning of the company’s name. In the history of Italian literature, Dolce Stilnovo is the most prominent movement of XIII century, which refined the Italian “volgare” (the language spoken in the peninsula after Latin disappeared) transforming poetry into a sophisticated and symbolic linguistic expression. Thus, is Stilnovo the new “angelic woman”, a new model for inspiration and contemplation in the contemporary age? It is hard to say, but for sure its “sweet new style” – what the name literally means – represents a new inspiring protagonist for Made in Italy desirability.

Giulia Zappa – Images courtesy of Stilnovo 
27/02/2015

London Fashion Week: New Talents from CSM

As every other year, during London Fashion Week, the Central Saint Martins graduate show represents the future of fashion. This year, the whole impression of the show was promising, but there are certainly four designers that stood out a bit in the young CSM niche.

Hayley Grundmann showed exceptional technical knowledge when sending her graduation collection down the runway. By combining voluminous, knitted material with sleek and more anonymous fabrics, she created interesting silhouettes and shapes, that expresses the postmodern idea of combining different and unexpected influences into something new. Pieces like the grey sweatshirt with knitted details became a great reflection of this peculiar desire to be both included and stand out, all packaged within a beautiful collection.

Paul Thomson seemed to be influenced by the same ideas as Grundmann, since the mix of materials played an important role in his collection, as well. Instead of focusing on playing with different shapes, Thomson has mainly used the knitted fabrics as details to create patterns, play with finishes and draw attention to clean cuts. The result is a collection that feels both luxurious – with the sober color scheme and in the choice of fabrics – and in the same time cozy, thanks to the knitted fabrics. This impression is strengthened by the styling which is topped with grey knitted socks.

Catriona Mcauley-Boyle’s collection is colourful and experimental: it is obvious that she is not afraid of exploring or realising her design visions and that she does it without compromising. It is a refreshing collection that feels optimistic both in the amount of colour, combinations of patterns and the execution. We look forward to seeing what McAuley will be doing next.

Beth Postle has drawn clear references to the art world in her graduation collection. The abstract patterns and the clean cuts are two elements repeated systematically throughout the collection. The art influences, nevertheless, do not feeling dated. Instead, Postle has taken them and transformed into contemporary mood, while, at the same time, adding her style to it. These are two aspects that we are interesting in seeing developed in her future designs.

Hanna Cronsjö 
26/02/2015

Plastic Army: Gareth Pugh at Galeria Melissa in London

Many times we have heard about fashion as an instrument to face the day, to win everyday challenges, to master all kinds of situations. So, it is not hard to believe that many designers have reflected upon the theme of the armour, declining it into their personal aesthetics and offering to their audience always different proposals; be it typically western or with a deep oriental taste, historically-inspired or conceptual, the design of these armours often deals more with the sensibility and attitude of the person who designs it than to the requests of the market.

Since starting his label ten years ago, Gareth Pugh decided to work in order to shape his own ideal armour, ‘modern’ as he himself defines it. An ideal made of all the recurrent elements of his designs: repetitive, almost obsessive patterns, geometrical and neat cuts, impossible volumes and materials unusual for fashion. Gareth Pugh stated that plastic is the medium of expression for his armours, and now his army is being deployed. Indeed, an exhibition in London is showcasing the results of this verdict, celebrating the bond between Pugh’s designs and the possibilities of plastic as a malleable – and wearable – material.

Held at Galeria Melissa in London, the exhibition celebrates the 10th anniversary of the brand and the collaboration between Pugh and the Brazilian shoe brand Melissa. The selection of clothes, or better, the manipule is very small – from six to eight dresses, all paired with shoes the designer has created in collaboration with the Brazilian brand, which started in 2008 – but it well exemplifies the themes Pugh has most explored in his practice. It is hard though to call it a retrospective; it is more a glance at Pugh’s own world of references, inspirations, manias developed during the years of his creative activity – of course, in plastic.

The recovery of the past seems to be at the basis of this exhibition, as well as of the decision to go back to show his collection in London, the city that formed him professionally and hosts his ‘creative family’. Moreover, ten years may seem a small amount of time but, fashion-wise speaking, are perfect to establish an image and send a clear message: in few words, to place steady roots. It is then interesting that Pugh went back to the roots and reflected upon his archive, isolating subjects and opposed forces in his works; all the elements that have merged into these armours on display, so fierce, forceful and fascinating, that he has shaped them as the core of his army.

Marta Franceschini – Images courtesy of Galeria Melissa 
25/02/2015

Window-Shopping through the Iron Curtain

Window-Shopping through the Iron Curtain is an upcoming book, published by Thames and Hudson, that presents a selection of more than 100 images of shop windows shot by David Hlynsky during four trips taken between 1986 and 1990 to Poland, Czechoslovakia, Hungary, Yugoslavia, Bulgaria, East Germany, and Moscow. Using a Hasselblad camera, Hlynsky captured the slow, routine moments of daily life on the streets and in the shop windows of crumbling Communist countries. The resulting images could be still-lifes representing the intersection of a Communist ideology and a consumerist, Capitalist tool—the shop window—with the consumer stuck in the middle. Devoid of overt branding or calculated seduction, the shop windows were typically adorned with traditional yet incongruous symbols of cheer: homey lace curtains, paper flowers, painted butterflies, and pictures of happy children. Some windows were humble in their simple offerings of loaves and tinned fishes; others were zanily artistic, as in the modular display of military shirts in a Moscow storefront; and some illustrated intense professional pride, such as a sign in a Prague beauty salon depicting a pedicurist smiling fiendishly over an imperfect sole.

The Blogazine – Images courtesy of Thames and Hudson 
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