Below: The huge toy sculpture framing the window of Chocolate Rain
Tuesday, 6 April 2010
Below: The huge toy sculpture framing the window of Chocolate Rain
Monday, 1 March 2010
Above: copper zippered bondage at Bryce Aime
Below: With her bronze leather slashing Iris van Herpen's show was a highlight of Vauxhall Fashion Scout
These warmer metals can be linked to a wider trend for natural autumnal shades which pretty much dominated anything outside the digital printing camp from Burberry Prorsum to Kinder Aggugini via Nicole Farhi and Rocksanda Illincic and on the main runways.
Aran knitwear from recyclers Goodone (above) and knitwear company North Circular
Perhaps inspired by the taste for vintage fabrics I detected the emergence of a trend in Aran knitwear too. Unsurprisingly this featured highly in the showrooms at Esthetica, the ethical designers space with brands like reclycers Goodone and knitting specialists The North Circular showing their own modern takes on the look. And when Julien Macdonald sent his models down the runway in oversized off-white cable knits, the trend seemed to solidify.
Above: Dark blue wide cord ruled James Long's catwalk
Below: Topman Design also favoured the blue hue
Finally, dark blue looks set to be huge next winter. If we got a feel for this during womens fashion week on catwalks from Jonathan Saunders and Louise Goldin, its future dominance was seemed certain during mens day in strong shows from the likes of Topman Design and James Long. I can't help thinking we've still got Alber Elbaz to thanks for all this. After all it was the elegance and aggressive red-carpet uptake of his collections a few years ago that first alerted us to the power of dark blue and black. What we're seeing now is yet more filtering down and experimentation of his aesthetic which at the time was really brave.
On the slate...
Sunday, 28 February 2010
This season will be looked back upon as he season that the huge digital printing finally matured. With so many British designers having made their name in this genre over recent seasons, there was a definite of sense of needing to move it up a gear in order to keep up a designer level and ahead of the high street. The solution was many of them picking up the needle and thread and adding embroidery and stitched and glued jewels onto their cocktail dresses. I lost count of how many of the highly influential young British designer pack including Christopher Kane and Erdem that added serious stitch work to their womenswear with lots of embroidery and in the case of Mary Katrantzou with quilting.
Above: Katrantzou's jeweled designs
Elsewhere, the Svarovskification of recent collections seemed to be giving way to an influx of bigger jewels in perspex and cut glass. I've been blogging jewellery specialist Holly Fulton's talent for this for a couple of seasons now but she was joined this time by the likes of Felder + Felder, Issa and Osman, both of whom plastered them all over their footwear.
Above: Holly Fulton shows her jewelry design pedigree with the embellishments on her symmetrical designs
Below: Mary Katrantzou's quilting
Since both of the developments of the printing trend – into embroidery and jewel embellishments - are about adding real texture to the surface, I suppose it's not surprising that the majority of designers in this camp are now opting for trompe l'oile designs for the clothes. Their moving away from the abstract florals and techno prints towards realistic photos of flowers and jewels on the items which work with the embroidery and embellishment.
If anyone could get away with sticking to digital printing without the need for more texture it would be Basso and Brooke, who made their name with so the groundbreaking way their pleated digital print designs fit together like puzzles when cut into dresses. But even on their runway their was the addition of a new layer of texture through their use of crafty patchwork inspired patterns.
The common theme between these three developments in digital printing is an increase in interest in traditional craft aesthetics. This can be traced back to the craze for all things crafty last year as part of the wider make-do-and-mend mania that seemed to sweep the UK. With these designers, many of whom have made their names in the high-tech world of digital prints, now taking on craft looks, you get an idea of how far-reaching this trend has become. Over recent months I've done a few interviews and written articles for trade magazine Craft Business on this very subject.
Above and below: Peter Pilotto's layered tube prints
But it also points to an increase of interest in 3 dimensionality amongst the digital printing clan. Whereas this Spring/Summer designers were happy with basing entire collections on extravagant flat prints based around one theme, now there's a definite sense of needing to offer more texture. Away from the craft aesthetic, Peter Pilotto added another dimension in his own creative way by rolling two pieces from tubes of fabric.
On the slate...colour report from London Fashion Week
Thursday, 21 January 2010
Above: send a balloon and make a wish at the AY Not Dead store launch party.
On a recent TV shoot in Buenos Aires I ended up filming at the launch party of the new AY Not Dead store in the Argentine capital's hottest area: Palermo Viejo. After three weeks trawling the BA streets in search of creative looks to snap I finally felt like I'd found my place...With the help of a few double espressos, the next afternoon I strong-armed the creative brains behind the operation, Noel Romero, into telling me the story so far.
For a designer of a label whose narratives scream proudly from their collection titles: 'Pray for Us', 'Les Fleurs du Mal', 'Le Freak c'est chic'...Noel Romero is surprisingly secretive about the origins of AY Not Dead's name: 'Some people think our name refers to a shady Argentine politician who got up to no good and is thought to have come to a sticky end after he disappeared...I prefer not too confirm or deny this stuff.' But as I chat with Noel in her neighbourhood coffee bar in Recoleta, it's not long before I realise that AY Not Dead's not short on romantic stories and, after all, when did a healthy dash of mystery not help the romance to blossom?
Above: AY Not Dead's Noel Romero in one of her own designs
Noel and a friend kicked off the label that became AY Not Dead under a different name on their return to Buenos Aires from Central St Martin's in 2001. Interested in creating prints, they discovered a batch of beat-up printing frames which they renovated and put to work producing commercial fabrics for more established Argentine designers to use. With the proceeds they gave birth to their first collection: 'Now I Love an Argentinian Girl' - an homage to the legendary Argentine rock band Sumo and an acknowledgment to their apprciation of being back on home turf after their training in London: 'We love London and still go back their nearly every year but that was a sign to everyone that for now we wanted to concentrate on Argentina'.
Above: a feel of London at the party and a selection of T-shirt prints from the AY Not Dead archive
It took a couple more years though until they started to really feel the love coming back to them. 'In 2003 we tried to get onto the Buenos Aires Fashion Week list but they turned us down'. Perhaps the elaborate stories they laced around their collections were too gothic for the taste of the fashion council at the time? Their early off-schedule presentations included titles like Rega por Nosotros (Pray for Us), a wry comment on religious fervour common in South America and the slightly macabre 'Fire in the Japanese Park'; neither particularly outlandish by European standards but perhaps a little acidic on the delicate stomach of the Argentine fashion establishment. Unperturbed they applied for fashion week once more, this time with the help of Noel's siblings. Their collection was a celebration of underground culture: 'Le Freak c'est Chic' and it went down a storm 'That's when we launched the label. We made a lot of noise at fashion week and finally got lots of attention from people'.
Above and below: AY not Dead's third store, now their sales outlet, Paradise Garage in Palermo Soho
Very soon Noel and co opened their first boutique in the venue of an infamous 90s rock club in the undiscovered barrio of Palermo. More outlets followed and by the time they were partying in the newest edition to their small chain the night before my interview, they had a lot more to celebrate: their womenswear collections are now available on the racks of Urban Outfitters and Selfridges in London and they have various movers and shakes from the states sniffing around too.
Above and below: looks at the launch party
So, what is it that's making the foreign buyers travel all the way to BA to knock at their door? At first glance their silhouettes and cuts don't stand out from a lot of commercial fashion that's available much closer to home. As Noel herself admits she's 'not so interested in the craft or the elegance of fashion'. For me, AY Not Dead's unique pulling power is the cultural depth of the designs and the fun with symbol-laden narratives season after season. In AY Not Dead's symbolic universe there's no distinction between high and low culture: everything's valid. This ethos has helped create Black Jesus, a fictictious band which released a real album for their collection 'Africa Meets Heavy metal' inspired by a poster of an African Jesus Noel dug out at Dalston market; a selection of jokey fake t-shirts of iconic European designers that don't sell their work in South America; and a collection of international tribal prints in Les Fleurs du Mal. It sounds like a cliche but the result is a line that could only come out of the long-term cultural crucible which is Buenos Aires, situated as it is so far from everywhere yet sometimes with it's back to the rest of the world and looking over it's shoulder. 'I'm much more interested in the social process of fashion. So I am always exploring that and the culture it sits in' Noel explains.
Above: Argentine designer and backer of AY Not Dead, Maria Cher
Towards the end of the interview I try to slip back to that mystery of the name, hoping by now I might have softened her resolve to keep things secret...'We were smoking a lot of pot at that time!' Noel confesses... I definitely don't make myself fully in charge of it!'. Fair enough...
Below: more partygoers at the AY Not Dead store launch
On the chalkboard: ManAboutWorld at fashion weeks...