Ashish
Fall/Winter 2013
SPRING/SUMMER 2013
Solar panels and wind turbines were the majestic background for the latest Chanel show, an image that immediately transports us to renewable sources of energy and some kind of solution to an environmental crisis. And is another reminder that Mr. Lagerfeld has been feeling very ecological lately… going from a Volcanic adventure to an under the sea fantasy, until he reached this environmental statement – I wonder what is coming for next season -. But when you look at the clothes, you just realize that is just that, a big wind machine desperate for attention, another big empty – in the essence off course – background to follow the Chanel tradition. As the clothes were as commercial as depth-lacking, no strong message was behind it.
Opening the show, a lot of black and white ensembles beautifully embellished with pearls, gave us a strong Chanel vibe and created a sense of strong expectations – or disappointment perhaps? – to see what was coming next after such majestic background. But after that, all we kept seeing were impeccably made luxurious dresses in which the always lavish and timeless pearls became one of the biggest statements of the show. Those bracelets and chokers where so imperial and desirable… Luxuriously decadent.
Massive hats that looked like solar panels and ridiculously – yet desirable – giant handbags made of pipes became the real statement of the show. An statement that was apparently directly-connected to that massive background, they were probably the big carriers of the ecological message… Where they really? We saw protective armor-like pieces, nature inspired embellishment, panel-like and wind-motors prints, and some other utterly obvious references, that felt… Well, too obvious and lacking of a real message. Is it possible that Mr. Lagerfeld sees things in a whole different way and I am not clever enough to understand his profound message? One way or another that message felt too subtle and empty, and idea created just for show and entertainment purposes. What a shame.
A richness of textures was there to delight our senses throughout a beautiful display of cropped – very Chanel – boxy little jackets, dresses, suits, pants and whatever essential piece you could possibly need. In leather, denim, wool, sheering, embellishment, glitter, geometrical patterns, flowers… name it Lagerfeld had it on the show in every possible color and shape. It was an impressive display of incredibly sellable clothes that are going to make the buyers very happy – retail fantasy – : First, it is Chanel; second, is Karl Lagerfeld; and third the collection was as desirable as it was luxurious. Who does not want a piece of that?
By looking at this collection, you notice that no matter how modern, desirable and current this feels, – obviously – Mr. Lagerfeld is not getting any younger. His mind may be, but his body is not. So, you cannot help but wonder what do the people of Chanel have under their sleeves? What are they going to do after Lagerfeld retirement? How can replace such a dreamy ‘golden eggs maker’? Could Lagerfeld anointed – if he accepts the job – successor, Haider Ackerman, live up to the expectations? Mr. Lagerfeld knows how to make the most desirable luxury – as we saw on this collection – that makes us want to expend thousands and thousands and thousands of pounds, no matter the crisis or any global situation. We are going to wait and see… That will be really entertaining.
It was a gorgeous display of extremely alluring but empty – I am still waiting for a message to follow such stunning background – clothes, that buyers and editorials are already loving for sure, with beautiful craftsmanship and impeccable finishing as usual… Pure luxury. Bravo Lagerfeld, the money maker.
Article first published as Christian Dior: SS2013 on Technorati.
The new season comes with a new designer and a fresh air for the legendary french house. As Raf Simons is turning Christian Dior upside down with a new aesthetic that we saw on the previous Couture show. And is becoming his new signature look, that leaves behind his pure modern minimalism with strong blocking behind, that we were used to for his Jil Sander immaculateness to add some serious drama. And I am not talking about that ‘who is in and who is out of the Dior family’ and those old exciting days of buzz and rumors after Galliano’s departure, which could overshadowed the belgian designer – But off course it did not -. I am talking about more theatrical pieces that were an eye fest.
Simons is approaching his signature aesthetic with a celebration of glitter, sparkle and shine with a party spirit that was as joyful as it was refreshing. “Everyone thought I was a minimalist,” Simons noted of his tenure at Sander. “I love minimalism. There will often be that kind of aesthetic; that kind of concept will be very often a part of my world. But it’s not the only thing that I’m interested in”.
Incredibly beautiful and desirable clothes invaded a runway full of pure luxury in decadently yet subtle rich clothes. We could see his famous color blocking on the runway but it was a wild take on it compared to his previous work. I do not know if it was because of the big amount of glitter and sparkle invading the runway that went from the shoes to the clothes to even take over the models’ eyes, but I just loved it. I know it was not full of ground breaking ideas, but I am a sucker for shiny… give me a a sequined dress and I am on board.
It felt so modern yet classic and timeless, with an interesting twist on everything. Like those beautiful long dresses at the end of the show with wide shiny and printed skirts attached to simple and luxuriously sporty tops. The Dior spirit was there with some hints of his signature New Look but through Simon’s eyes, that he claims is a bout liberation, a word that does not seem to go with the 1947‘s ‘New-Look’, but Simons begged to differ. “Mr. Christian Dior was giving a reaction to the aesthetic of the moment, which was a restrictive aesthetic,” he argued. “He brought fantasy again, and the whole idea about sensuality and the female body. And [the focus on] the waist, and the hip and the breast. It was a way of freeing up from a certain kind of restriction”.
Dior’s new golden boy has kept us very entertained for some time now, which proves that the legendary maison is on a good path thanks to the new Commander In Chief – well at least in the design team.
Article first published as Balenciaga: SS2013 on Technorati.
Last season, it was Wall-Street chic with an edgy attempt for more commercial clothes. This season, is just more accessible and incredibly commercial clothes. Just that… So, let’s sell.
With hints of the iconic Balenciaga’s volume and Ghesquière’s unique aesthetic, ruffles stole the show in black and white dresses and skirts like Spanish Flamenco dancers that were alluring and beautiful yet mysterious. Another big Balenciaga statement on the show were the Cropped boxy sweaters and jackets, and beautiful mini skirts in all possible ways and shapes that were as complicated – in terms of cut and fabric processes – as they were desirable.
In the end it was a very smart, chic, sharp and glamourous collection, for the – ultra rich – masses. But I am not sure what was the real idea behind it… “An evocation of mythological drama,” Ghesquière said during a preview, which does not sound so convincing. I do not know if Mr. Ghesquière wanted to shock with one of the most commercial collections he has ever done for the legendary house, an unexpected departure from his usual avant-guard power; or it was an strong attempt to deal with the current crisis and sell more… but in the end, it felt like something was missing.
Off course, there were beautiful and incredibly desirable clothes with that singular Balenciaga By Ghesquière take on luxury, and an inspirational edge. But his signature statement pieces were somehow missing, it was a memorable collection with great pieces but definitely not his most memorable. That ultra shocking wow – this is the future of fashion – I-have-not-seen this-before factor was missing.
One way or another it was a strong and gorgeous collection, that still was one of the best of the season, but for Nicolas Ghesquière’s standarts, it jus was not enough. It was simply beautiful, desirable and very commercial with an edge that buyers and editors are definitely going to love.
Article first published as Prada: SS2013 on Technorati.
Japan became Prada’s big statement of the season… A fun collection to watch, specially because of the shoes with an evident oriental savoir-flair, a modern western take on the eastern silhouette and aesthetic.
Beautiful prints, with flowers awkwardly placed on the clothes like a patchwork technique on black and dark green, were there to be seen as a big statement of delicacy at the beginning of the show. Then, more flowers were placed in a more sophisticated way with hints of colors like red, to give the collection a stronger ninja and samurai vibe, that made the models look like powerful women who were taking over the runway… “toughness and the poetic part,” Miuccia Prada explained backstage. “I tried to mix them together, because this is mainly what women have to deal with in reality. The clothes are the expression of this impossible dream”.
Boxy silhouettes and Kimonos with big blooms that came as an ode to Rei Kawakubo, mixed with Prada’s ongoing fascination with lingerie, and an athletic aesthetic and a retro vibe as an appealing twist on the collection were the highlight of the show. Some pieces, as the Kiomono inspired jackets with such strong architectonical modernism were simply majestic. And the accessories became the most interesting statement of the collection, beautiful handbags that must already be in everybody’s wish-list.
But it was an odd collection that sometimes felt like it worked but sometimes felt like it did not, that mostly did not have that strong Prada signature aesthetic and memorability. Definitely not one of her strongest collections. Is she losing her lust? Where is her thunder?
It was beautiful and modern with hints of luxury and intellectualism indeed, but it was not that great. Miuccia is losing her memorability while gaining an un-necessary awkwardness. Let’s wait and see what is next for the great Prada… I am ready for the redemption.
Article first published as Gucci: SS2013 on Technorati.
After a very noir and nostalgic season, Milan is feeling very optimistic… Bright fuchsia opened the latest Gucci collection in fluid, and beautiful dresses where ruffles became the leit-motif. After that, a coral invasion took over the runway with sea prints and beautifully-luxurious-statement jewels. The sea was definitely in Giannini’s mind as we saw cobalt blue opening for different shades of green and blue, with more and more and more ruffles. But the inspiration was deeper than that, as the designer said before the show that she’d been inspired by Richard Avedon, specifically his portraits of such women as Marella Agnelli, Talitha Getty and Gloria Vanderbilt. It was pure resort luxury.
It was an under the sea trip with that signature Gucci look, surfacing to welcome animal prints in grey-ombré, with croc leather trims and python leather to complete the wildly luxurious collection of Gucci.
Simple and flattering shapes, beautifully and impeccably made clothes, with ruffles in every possible way, that are definitely going fly off the shelves as hot bread. As she had a little bit of everything for everybody – who can afford it off course -, including dazzling red carpet dresses… It was simply a beautiful collection but quite disappointing to be honest. I was not expecting ground-breaking fashion forward ideas but a commercially over the top decadently luxurious collection that would make me burn in desire, rather than the commercially safe – too safe – display of just beautiful outfits that we saw. Thank God for the statement jewelry that saved the day… So decadent and so luxurious, devilishly enchanting.
Article first published as Burberry: SS2013 on Technorati
For us, the rest of the world is the epitome of British luxury but for England, it could not get any “Chavier” or let’s say… any more “Jersey Shore” than Burberry. The checks are seen here as the ultimate representation of tackiness, the chavs did to the legendary brand what Snooki is doing to Gucci with the handbags she is always carrying. Anyway, one way or another the latest “Chavy” collection was just beautiful – I guess that as long as it does not have those “infamous” checks is alright -, it was pure luxury, over the top chic luxury, no matter from what angle you are looking at it.
You always get a sense of nostalgia in the Burberry shows, you feel like you have been transported to a magical new world with a halo of heavenly-luxury. Not the most ground breaking fashion revolutionary ideas, yet edgy enough and commercially alluring.
It began with some pure and beautifully finished white ensembles with some hints of color that later transformed into the most delicious and fun pop of high-energy colors full of sophistication and optimism… “I wanted it playful, sassy and joyous with colors so intense you wring them out”, Bailey said after the show. An optimism that not only us but probably the company could also need during these difficult times… “You need to do things that make people smile, to have a point of view. And if you work with integrity and honesty, you can ride out the challenges”.
Lamé in rich colors and prints were ‘à la carte’ for us to choose in so many options including dresses and the traditional burberry trenches, that off course were a high note, but an expected delight that we saw coming after witnessing the men’s show a couple of months ago. Another appealing point of the show was that interesting – yet very shy – intention of a more avant-guard playfulness with volumes and bustiers shapes, something very new for Bailey. And off course, the craftsmanship was as impeccable and alluring as usual, with draped ensembles and beautiful leather trims to finish outerwear. The color palette was as optimistic and playful as it was sophisticated… From high energy bubble-gum tones to jewel tones and metal fabrics.
It was the usual Bailey luxury properly updated for this season with some little hints of edginess… “I saw some Norman Parkinson photographs from the the 40s and 50s with saturated colors and I found these beautiful photos in the Burberry archives of corsets and capes of the early 1900s”, the designer said after the show about his inspiration for the collection that had an indescribable new halo of freshness, a new air is been flowing in the Burberry house.
The peacock pieces at the end of the show were so decadently luxurious, that you can not help it but gasp of excitement and the finale with all the models lined up, walking with trenches in all those jewel tones was so magical and Oh! so Burberry.
Article first published as Calvin Klein Collection: SS2013 on Technorati.
If you ask Francisco Costa, the creative Director of Calvin Klein Collection, he would say that his latest collection was… “Erotic. Feminine. Urban. Chic. High sophistication”. And it certainly was, especially if we focus on the erotic part, pure sex. Sheering and architectonical clothes with a perfect sartorial that could remind us of Carolyn Bessette-Kennedy, one of Calvin Klein’s most famous employees. “She is very much a part of this house,” Costa said backstage before the show. “She had this really cool vibe. All the Yohji and the Calvin.…There was an edge to her, the clothes never felt dull.”
It somehow felt like a sequel to last spring/Summer’s collection with hints of the last season’s aesthetic, but with a more interesting use of fabrics and and materials… meshes and more intricate cuts, in which he juxtaposed solid and transparent fabrics, including provocative, weblike moiré cages over strapless sheaths.
The use of contrasting trimming in different part of the dresses including the hems was really beautiful and gave a sense of modernity and power to the clothes. A power found in the Calvin Klein Woman’s own femininity, in which her own delicacy gives her a rare yet interesting strength and sense of independence. The color palette was very basic… black and white in different shiny and matte textures with hints of light yellow and ivory.
A feminine and soft armor that exuded pure strong femininity, in which he leaves the 90s inspiration of previous collections behind to welcome a See the best looks from the runway new futuristic era full of sensual allure.
Article first published as Marc By Marc Jacobs: SS2013 on Technorati.
A joyful and fun spirit invaded Marc By Marc Jacobs, with an upbeat collection full of layers and layers of relaxed, fresh and laid-back clothes overflowing optimistic mix-n-match prints… checks – big and small -, flowers, arabic, stripes, you name it, it was there!
It somehow had a retro-parisian vibe, it felt like the it-New-York cool kids went to a last minute trip to the country-side or the beach and packed whatever they found and just wore it, mixed with grandma’s clothes that was already there, improvised yet cool, effortless cool. They are just too cool to care about anything.
The collection was full of utilitarian clothes, with all the basics and good commercial items to sell with an edge that is stylishly interesting and cool, with oversize shirts and foulards beautifully cinching the waist. I am not a big fan of big names and logos on clothes and bags, yet those ‘Marc Jacobs’ printed sweater and hat were so alluring. Beautiful pieces and silhouettes in such richness of colors and prints… It was not very ground breaking but it is Marc By Marc Jacobs… What a fun collection!
Article first published as Alexander Wang: SS2013 on Technorati.
The king of coolness Alexander Wang, took his magnificent avant-guard-craftsmanship to a whole new level of greatness. With such a strong collection, not only because it was exceptional in every possible way, but because it was full of tough clothes for stylishly powerful women. I am sure you would not like to mess with one of these Wang women.
The shapes, construction and experimentation were as innovative and delightful as usual, in what felt like a new take on basics and almost like a marvelous transformation of everyday uniforms. Full of such magnificent details and such a beautiful and edgy embroidery created by cutting-edge construction. It was a ravishing enchantment for the senses… Magical futurism
But it was real avant-guard-futurism, not Star Wars Retro inspired futurism. In shapes and styling that came from an alternative world, a most stylishly powerful world, with panels and cut-outs that were as delicious as they were ground breaking, it felt like the models were wearing gravity-defying pieces that came from a sci-fi fantasy with a strong technological feeling, in which his athletic aesthetic took a high dose of modern sophistication in beautifully treated meshes, blocks and intricate shapes. During a preview a few days before the show, Wang said austerity was a focus when it came to structure and volume. “Then I wanted to start dissecting the pieces,” he said. “So we played with the idea of suspension and tension through embroidery techniques.”
Despite the austerity intention, in which you could only think of plain neutral color blocking, there were interesting patterns that came from the wild inspiration with crocodile inspired 3d motifs and zebra-like cutouts and embroidery that were just glorious and beyond brilliant. The see-through cuts in the pieces were astonishingly risky yet they worked perfectly in alluring and sensual edgy-greatness. It was a black and white collection with hints of silver and creamy colors that did not go that far from the white hues.
An interesting highlight of the show? Liberty Ross, who right after the cheating scandal of her husband Rupert Sanders and his ‘Snow White And The Huntsman’ star Kristen Stewart blew up, rocked the catwalk wearing the 20th look of the collection, looking incredibly fabulous and powerful. And the music was perfect as usual… Dj Sliink with Put Cha Back In It, Baauer with Yaouw! and Harlem Shake, Jay Fay & Ra Cailum with Bonkers, and Sandro Silva & Quintino with Epic.
Supermodels after scandals and Dramatic endings are becoming Mr. Wang’s thing, last season he gave us a show ending in which the light became a little bit shinier and warmer, to introduce the final looks with some of the biggest super models of all time, including Karolina Kurkova, Shalom Harlow, Carmen Kass and Gisele Bündchen – right after her super bowl scandal -, who all stood in front of the cubic giant mirrors, a surreal and wow moment, in which my heart stopped of excitement. This season he gave us nine acid-blonde models, wearing ivory variations of looks that had already been shown, stood on the cement runway, and when the lights went down their clothes – so as the guests’ – glowed in the dark. It was a fabulously cool moment for the coolest kid in town. The best collection so far and probably one of the best of the entire season. See the best looks from the runway here
