We have been following the work of Iris van Herpen for a while, and she is indeed in a league of her own.
Each piece is embedded with thought-provoking ideas, and drenched with exquisite detailing. In her most recent collection, van Herpen embarked on an exploration of wilderness, nature and how the human body fits into that.
Motifs of nature can be seen through the way in which the organic shapes spiral around the bodies of the models, forming extraordinary silhouettes.
They are architectural, constrained, yet wild. Her designs are transcending the natural limits of clothing, in almost morphing the human figure into something abstract, something changed. The collection is decked with many “hard-shell” looking designs, which themselves are embedded in intricate detail. And not to mention the nymph-like ethereal makeup and hair, which brings to collection together magically.
Now remind us, what’s the difference between fashion and art again?
“For me, fashion has always been about setting your own boundaries and making a statement.”
-Iris van Herpen
Chanel have truly done something right, with their hard-hitting hand candy, which we see as being some seriously all consuming bling.
We can always leave it to Donatella to “go back to real glamour”.
This time with a focus on the picture perfect ways of “that black-and-white era.”
Photographs sourced via. Dazed & Confused (Lea Colombo)
Once again, the Maison Martin Margiela “Artisinal” collection was terribly beautiful in it’s expose of ‘environmentally friendly’ avant garde creations. Creations they were indeed, with faux flowers sewed to hems amongst many other reclaimed vintage pieces.
This time, the faces of the MMM models were hidden behind ornate masks which were unique to each of the looks. With anonymity as their identity, and design ingenuity as their trademark they continue to leave the models identifiable.
Okay, so there were blue latex jeans, silk tulle pieces (apparently from a 950s prom dress sourced in New York) , and even seemingly normal blue jeans (rolled up at the hem) which were then combined with cabochon embroidered head piece/mask things which covered the bust.
Therefore the ornate collection utilised many textiles to create it’s well; ornate effect. I’ll have you know that Margiela (the designer) was once known to be inspired by objects of the flea market-explaining the ‘coat made out of a Beijing opera costume dating from the 1930s’.
Creation, re-creation, birth, re-birth, name it what you want, the artisinal collections of Marison Martin Margiela are truly ones of patch-worked avante grade glory.
Last resort season, Raf Simons was all about embracing a new sense of dynamic freedom, and that surely was translated within his Haute Couture Fall 2013 collection for the house.
Talk about complicated, for this collection Raf meshed global references (from Europe, to Africa, Asia and even America.) Noting that he was indeed for the idea of “freeing up couture” (Raf Simons), yet again he pursued the notion of haute couture in a more modern and dare we say it– accessible and wearable sense.
What a remarkable beautiful collection is was.
Attempting to re-structure fashion noms as we know them, Raf explored the future of haute couture, stating that “psychologically, emotionally, [couture] can be approached the same way as ready-to-wear: out there for women to enjoy and to wear.…It’s a psychology of how clothes can look in relation to a modern woman and the way she is living her life and experiencing the culture.” For us, this is the special thing about Raf Simons at Christian Dior. He allows the house to explore the limitations of the fashion world in ways which have not been done before.
So as Raf Simons strives to grant us freedom, we see a range of Parisienne tailoring (yes the good ol’ bar jacket again), alongside traditional Asian and African influences. Almost disjointed, the collection is quite a rightful interpretation of Raf Simon’s Internationalist nature, embracing the new-age Dior woman (client) in whichever part of the world she may reside in. Optimistic national emblems, bold shades, and the liquorice all-sort like stripes (which we have grown very familiar with) mark much of the energetic collection.
“If we don’t adapt to what women in society are now about, couture might disappear”
CLICK TO VIEW MORE OF THE COLLECTION
In a collection of extravagance and sublime moments, this look was a favourite of ours.
We particularly adored this Valentino piece because of its beautiful sheer lace and understated opulence, embodying the wonder of the house.
Photographs sourced via. Style.com
Cohesive, fluid and never lacking warmth, Phoebe Philo’s Fall/Winter 2013 collection for Celine was frankly put by Style.com’s Jo-Ann Furniss as “tactile, tasteful, and—dare it be said—cozy.”
The Fall 2013 runway shows may feel like they were a lifetime ago, by it’s bloody cold down in Australia at the moment, so one would think they are our present.
Amidst Philo’s perfect sense je ne sais quoi– alongside perfect editing and melt-in-your-mouth looks, the Celine RTW collection was full with cream-on-cream looks. Let’s call it French White. French White is fresh, crisp and creates a modern warmth which was all by accentuated by the rounded shapes of Philo’s creations. Made up of usually welcomes earth tones of deep beiges, greens and ochre-browns, Fall brings with it a cosied sensibility. But this winter season, we’re all for that French White-On-White.
…get the look with…
a. Alexander Wang “asymmetric merino wool sweater” (via. Net-A-Porter)
b. Jil Sander “north bay cotton-twill sleeveless dress” (via. Net-A-Porter)
c. Sass & Bide “the prose asymmetrical hem jumper” (via. Sass & Bide)
d. DKNY “white lattice tulle leather trim circle skirt” (via. My-Wardrobe)