Helmut Lang NYFW SPRING 2020 READY-TO-WEAR

Not far from where Mark Thomas and Thomas Cawson staged their second runway show for Helmut Lang the brand today, an exhibition of Helmut Lang the man’s latest artwork was opening. Lang walked away from his company 15 years ago, and in the interim, it’s gone through its fair share of incarnations. Perhaps because of the significant amount of time that’s passed or maybe because of the recent success of the reissue concept, Thomas and Cawson are taking a very faithful approach to their reimagining of this famous label.

The reissue is a divisive concept. On the one hand, it’s a clever way to address youthful FOMO, on the other, it’s a design cop-out that doesn’t push the conversation forward. The pros see smart money and the cons insist fashion must reflect the present situation or it risks becoming costume. As with so many things, there’s a generational divide. The olds raise an eyebrow, but the youngs turn up in droves. Today, Jeremy O. Harris, Maisie Williams and her new boyfriend Reuben Selby, Charlie Plummer, Lucky Blue Smith, Selah Marley, and Paloma Elsesser all sat in the front row.

Millennials, it would seem, are the target customers. But in fact, what Thomas and Cawson are up to looks good enough that the Helmut faithful might be intrigued. Absent a few dresses that read too sweet, this was an accurate accounting of Lang’s signatures: the minimal tailoring, the utilitarian parkas, the sheer elements, the chromed leather, the touch of latex kink, the denim shapes. Reproducing the electricity of anticipation that used to course through Lang’s show spaces is a much harder trick to pull off. And it’s probably not fair to ask it of Thomas and Cawson. Lang was an original.

Source: VogueRunway

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Burberry Releases SS19 Runway Zip-Up Shirt

Burberry has released one of its most iconic Spring/Summer 2019 runway pieces, the “WHY DID THEY KILL BAMBI?” deer-print shirt.

The Riccardo Tisci-designed piece is steeped in history and references. The printed phrase takes after more than just one pool of inspiration, as it looks to the lyrics of the Sex Pistols’ 1979 song “Who Killed Bambi?” — which was incidentally co-written by Vivienne Westwood, who soon went on to collaborate with Tisci at Burberry — as well as Tisci’s time as the head of Givenchy, which delivered a number of iconic Bambi-adorned pieces. The print also nods to the fact that Burberry said it would no longer use fur in its future collections.

Burberry’s short-sleeve offering is made from cotton twill and features a half-zip down the front using leather hardware. The boxy fit is complemented by two box-shaped chest pockets, and on the rear, Burberry has added two pictures of a porcelain deer.

Take a closer look at this SS19 runway piece from Burberry in the gallery above, and pick it up for yourself from retailers such as MATCHESFASHION.COM for $903 USD.

Source: HypeBeast

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Alyx Spring 2020 Men's and Women's Collection

Matthew Williams of 1017 Alyx 9SM (his brand’s full name) didn’t seem to attach much meaning to his venue—a stunning, modernized bank building—yet two words projected loud and clear: big and business. This is what Alyx is fast becoming and what the combined men’s and women’s collections encapsulated with their assertive silhouettes and high-fashion positioning.

As the penultimate show of a strong week, Alyx was something to behold, arousing the glory days of Thierry Mugler in the 1980s while attracting the next-generation crowd that has brought incontrovertible energy back to Paris. For now, at least, Williams is committing to a more formal form of urban than his peers. For him, tailoring is not just an outward statement, but an inward reflection of mastery. “Tailoring is a really difficult thing to do as a young brand,” he said. “Some of the construction we’re attempting to do is trying to find our own language. I think it’s a nice challenge to define what that is for us.”

Arguably, his challenge is how to achieve that difference without appearing over-designed. From past visits with him, before he switched to a show format, he revealed his process as methodical, almost obsessional for the way he will privilege one detail over another. Chances are, he vetoed at least a dozen chains before landing on the one that repeats as a parabolic flourish on several of these looks. Other details—elongating panels, zippered knees, hammered hardware, sculpted heels—were fine-tuned in order to be fully integrated, not gratuitous. Elsewhere, outdoorsy pieces that harked back to earlier collections blended in while the draped dresses towards the end remained slightly unresolved.

But that’s just surface stuff; anyone who read the accompanying notes would have learned about the metal hardware sourced from a sustainable factory, the near-waterless leather-dyeing process, the three-dimensional printed seams and myriad more examples of innovation adding functional and psychological value to the clothes. Or, as stated in this succinct yet thorough document, “We engage with systems, scales, and soul.”

Williams, for his part, also suggested the designs gain dimension from those wearing them. “Our casting is a real mixture of models and friends and family—those people’s energy really brings out the clothes.” See Model 54, aka his wife Jennifer, who wore a croc-embossed jacket (the treatment of the season) and a corresponding translucent skirt. Enough of the guests knew her that cheers echoed through the space as though she were an international celebrity. It was a telling moment. Alyx, now acting all grown up, remains as independent and in-the-know as always.

Source: VOGUE RUNWAY

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MARIA ARISTIDOU FW19-20 COUTURE

CLAIR DE LUNE COUTURE

COLLECTION FALL WINTER 2019 2020 HAUTE COUTURE PARIS FASHION WEEK

Looking up into the night sky you feel motionless and mesmerized as you fall prey to the moon’s charm.
Whether it is crescent or full, you bear witness to an eternal celestial struggle for dominance between light and darkness.

The moon’s power and its magnetism are transcended to us through its light. It is this very moonlight that, like an invisible veil, dresses up the night and sets the mood. Whether it falls upon an ocean, a desert or upon a woman’s body it inspires romanticism, a feeling of mystery, elegance and seduction, a fascination with the female form.

Maria Aristidou’s knit couture collection Autumn Winter 2019/20 is an ode to Clair de Lune.
The cuts, the designs and accessories with hand embroidered embellishments on colorful, luxurious knit fabrics, made by the designer; they all accentuate the timeless romance, femininity and uniqueness that are defined in every flicker, every speck of Clair de Lune.

The magic of knitwear inspired the designer to first explore and then create, using luxurious threads, elaborate techniques and various knit patterns. The craftsmanship of detailed hand embroideries adds to the uniqueness of Maria Aristidou's fabric collections for the couture evening and accessories. The process of each collection production starts from the fabric design. Yarns such as wool, viscose, lurex, cotton, silk and velvet are ordered from France and Italy. Then, a series of patterns are designed in great detail followed by a series of tests to decide on the yarns that will be used for each pattern, how thick or thin the fabric, color sampling combinations, hand-embroidery design testing, quality and durability checks, etc. The whole design and production processes take place in Cyprus.

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ZIAD NAKAD FW 20 COUTURE

TESSERA COLLECTION COUTURE FALL WINTER 2019 - 2020 PARIS FASHION WEEK

Inspired by the ancient mosaic, Ziad Nakad's Fall Winter 2019 2020 couture collection is an ode to architecture and geometry. Marked waists , oversize and asymmetrical sleeves are true technical features while giving an impression of lightness in resolutely feminine outfits. Silhouettes with embroidery embellishments like "tessellas" and "tesserulas" reveal an aerial mosaic. It is this alliteration assemblage that inspired the designer for the collection’s title.

A colorful collection, from blue to red, from gold to silver with black tips. Always concerned regarding high quality, Ziad Nakad mingles tulles and chiffons, lace and velvet, giving his creations an architectural and modern dimension, always reminding us his mastery in cuts and volumes.

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YOLANCRIS COUTURE FW19

The Couture FW19 collection presents a hidden, dark, darkly romantic spring with a Gothic touch. Inspired by the stories of Edgar Allan Poe and the illustrations by Harry Clarke and Aubrey Beardsley, the colorful characteristic of the brand gives way to a black and white that are fused and contrasted in forms that are reminiscent of the decorative arts of the late nineteenth century and early twentieth.

Along with Art Nouveau and Arts & Crafts, the other most important influence of the creative director Yolanda Pérez are the decades of the 60s and 70s of the 20th century. The black and white binomial of the collection has its point in common with the op art of the 60s, being the graphics of the French designer Louis Féraud a reference point in conceiving and creating the ornamentations of the pieces of the collection with abundant embroideries and hand-sewn rhinestones.

Among the collaborators, Yolancris has worked with Roselinde's jewelry. The light of the Canary Islands and its natural landscapes are the greatest inspiration of Ros Jiménez, owner and designer of the brand. The House also collaborated with British  footwear brand Sophia Webster. Hair and makeup was coordinated by Marcello Costa and his team, PR and management of the show was done by Totem Fashion and the consulting by Mabel Gago.

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STEVEN KHALIL FALL WINTER 2020 COUTURE

Featuring colourways of dove and pale pink, cornflower blues to deep jades and dramatic blacks rounding out the palette. This story explores the anatomy and fragility of flowers- their natural peculiarity and softness, while combining and expressing these notions with a mixture of strength and romanticism. It was Steven’s intention to emulate and convey different flowers in varying stages of bloom- from tightly wrapped buds that hug and wrap the body to blossoms unfurling for a spring morning and fully fledged flowers triumphantly open and joyous.

The woman envisioned to be drawn to and wear pieces from this collection is like so many of the women Steven loves to dress - strong, passionate and confident - but who also likes to express their femininity and understand the power of and look for a dramatic silhouette.

Steven has designed a collection rich with surface detailing and using exclusive embroidery techniques leading to the creation of the final pieces. Each piece is uniquely detailed in its construction while still feeling whole and being a part of the same story. Most of these hand finished and detailed gowns can take from 100-200 hours to design, construct and finish. This is part of the DNA of the brand. Every collection is different but still special.

Experimenting with layering and creating tufts of raffia that sit against a silver metallic base to amplify the sheen. Combining hand-cut powder pink silk georgette with a fine metallic thread for intricate vine like centres. Some also comprise small bursts of stamen flowers to enhance the original source of inspiration.
Densely embroidered pieces feature that are designed to have a foliage like formation that gradate into smaller individual clusters. Even more texture was explored through the selection of beading in metallic silver, jet black and gunmetal to increase lustre and shine. Deeper and more sumptuous silk velvet is used to enhance the combination of the matte/shine embroidery.

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