Moon & Earth

I first heard of Hakaan last season when the web swarmed with news of the Roitfelds flying to London only to watch his show. I was curious to see what was so especial about the Turkish designer whose line I had never yet Carine and Julia couldn't miss. Needless to say, I was pleasantly surprised. Which is why I was disappointed to learn that he wasn't showing in London this season but excited to see what he had created for SS11. This collection was overall less body-con than FW10. He still sent a few mini dresses with his signature pelmets but the silhouettes were slightly more relaxed. There were plenty of tailored trousers and jumpsuits, which varied from the baggy to the skin-tight. Cut-outs, always in triangular shapes, revealing or suggesting necklines and hips in the sexiest manner. But the inspiration seemed to be otherworldly this time. White's supremacy evoked an alien world of modern minimalism as did the odd light grey pieces and the few black ones that were a perfect fit for Morticia Addams.

Rochas SS11 put a smile on my face. I was happy to see a new and fresh take on the overused countryside inspiration. Marco Zanini said he simply amalgamated all his favourite things for the collection, and these things show. There was true sentiment, almost romanticism, in the clothes. As it turns out, the Swedish countryside, where half of his heart lies. And so he commissioned Slotts Barbro's  Swedish pictorial work for Rochas' prints. One of the most charming collections we have seen so far.

I'm off.

[Pictures: Vogue.fr, Style.com]

Fade to white

For SS11, the Dries Van Noten woman finds a relaxed elegance through light and colour. The designer was mainly inspired by the work of Belgian painter Jef Verhenyen by and old Chinese ceramics. Verhenyen's unique way of capturing light in his paintings translated onto the clothes in the shape of degradés that made it seem as if colour had ran out halfway through production. Chinese ceramic motifs, a recurrent theme for Van Noten, flooded silk tops, dresses and trousers. Opposite these very feminine effects we saw an almost boyish approach to the tailoring —boyfriend blazers, oversized tuxedo jackets and shirt dresses. The surprise of the show were the few paillete-embelished pieces and the shiny flower-embroidered jacket, which strongly contrasted with the season's dominant white.

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[Pictures: Style.com]

Luxury sportswear

Having seen a calmer side of Marni during the past few seasons it came as almost a shock when the SS11 collection went back to the house's über-eccentric roots. Consuelo Casteglioni, who created Marni in 1994, reminded her audience why her brand became a cult in the first place by bringing together sportswear and luxury. The models walked out turned into sophisticated scuba-divers wearing soft leather, mesh and wet suit fabric cut and ruffled like ordinary dresses and layered over cycling shorts. A fusion taken to the extreme on the maxi-sequinned looks toward the end of the show. Castiglioni made of colour play and prints a statement. The latter varied from the vintage to the contemporary pixelated florals. All of it quirkily topped off with swimming hats, Marni's infamous shades and chunky heels and aerodynamic hair.

I'm off.

[Pictures: Style.com]

Bold colours & wet hair

Yesterday was one of those fashion week days in which the names on the schedule only create excitement for true fashionistas. Jil Sander was one of those names. Or I had better say Raf Simons. His SS11 collection was tightly connected to what we saw at Pitti for men and yet he added an extra twist to the über bold colours and sleek minimalism we're used to see form him. Tim Blanks explains it perfectly when he says " [a] maximalism, which led him instantly to haute couture". We saw that in the shape of gown skirts and dresses that were paired up with more casual pieces like t-shirts and sheer tops. In addition to his signature block hues we saw horizontal and vertical stripes and flowers prints that, while secondary, made the collection even more contemporary.

Bottega Veneta has been growing on me incessantly over the past few seasons. I admire established fashion houses who refrain from being stuck in the past and take risks hiring designers that wouldn't necessarily completely understand their vision. That was the risk (or safe bet as we can refer to it now) when Tomas Maier was hired. The focus was put on the construction and the tailoring which turned fabrics in to easy-to-wear light-weight garments. In fact, the ease of the collection is its most appealing aspect. In line with Acquascutum's "just out of bed" girl from last season, Maier gets the girl right out of the shower and onto flats because she is so confident she only needs perfectly made clothes to feel sexy.

I have to admit that the best part of watching the Pucci SS11 show online was the fact that Mademoiselle Agnès was in charge of walking around interviewing guests with her flawed but chic command of the English language. If any conclusion was to be drawn from what everyone said to her that should be that the Pucci woman is, above all, sexy. And she is sexy because Pucci is ageless (at least in the industry where older women dare to bare their legs), it is sensual rather than slutty and it has that boho chic air every woman loves. Peter Dunda's brought back the Ibiza of the 70's for SS11 in the shape of clothes people like Anna dello Russo would wear to the beach. Gauzy skirts short at the front and flowy at the bottom, backless long-sleeved mini dresses, pompoms and lots and lots of ruffles.

I'm off.

[Pictures: Style.com, TheSartorialist.blogspot.com]

mum, I make my own clothes

As someone would say, Rodarte was beyond. Every time I'm about to watch a runway show by someone I admire (be it in person, video or pictures) I have this conflict in my mind —They can't do wrong, but what if they do? What if they've gone bonkers and totally missed the point? Well, as I dealt with this little internal debacle of mine the Rodarte FW10 show finally started and then my doubts were blown away.
I loved the music, the dominance of whites and the shoes —some espadrille-like derivates more folky than the wedge ones we've seen before. I quite dug the slightly baggy virginal lace that covered arms and legs. The layering and fascinating mixture of fabrics were somewhat ethereal yet realistic and skilfully draped, twisted and shredded in the Rodarte manner that we know and love. I couldn't keep California out of my mind and kept wondering whether this was some sort of return to their roots —a doubt that still wanders my mind due to the lousy sound of the interview with the Mulleavys after the show.
The finale was pretty amazing. As the last four models stood in the middle the lights dimmed and switched to neons that gave a very different view of the dresses and even more magical. As Elvis uttered the first lines of the quite appropriate 'Blue Moon' the rest of the models walked the runway once again given the impression that it was a whole new collection.

[Screen captures from the streaming show at ShowStudio]

I'm off.

Baarìa

FW10 is a season to look back in time at austerity. Dolce & Gabbana used the Italian film Baarìa (which is likely to get an Oscar nomination) as their inspiration. The film portrays the changes in the Sicilian town from the 1920's to the present day. Just like in the film, the collection sees a certain style evolution.

The first part of the show was mainly based on shabby undergarment-based outfits in palettes of grey and worn-out shades of black —a nod to the working classes of the time. The main focus of the collection is, however, post World War II southern Italy. This part consisted of neatly austere two and three-piece monochromatic suits worn without ties. It was the kind of fashion-forward simplicity that, in Italy, one usually only sees from the hand of Miuccia.

As the hypothetical chronology advances a certain sophistication comes into the picture. Velvet and dark shades of burgundy and maroon enrich the garments. Newsboy caps stay persistant throughout —just like the white shirts and waistcoats—, only gaining slight colouring here and there as if afraid of flamboyance.

All in all, the FW10 Dolce & Gabbana man neglects any type of extravagance and finds elegance in the old Italian classics. Thank you Domenico and Stefano for proving that we can still hope for a return to better pre-tacky times.

It was an amazing experience to be able to stream the show live and write such a prompt review! I was also very fond of the pre and post backstage footage. Have a look at this behind-the-scenes shots including Anna dello Russo and Margareth Madè (star of Baarìa) who wears a beautiful white see-thru lace dress.

[Screen caps from the live show at Dolce&Gabbana.it]

Stay tuned for tonight's Burberry review tomorrow morning and Prada's later tomorrow!

I'm off.

Update!: See here the high res pictures at GQ.com

chrysalis

Jak & Jill called it 80's Vs. 70's but it can be given any name. Fashion is indeed turning from the hardness of black leather to the softness of nude gauze. Things like this excite me because I feel like fashion history is being written before my eyes and I won't just have to read about the changes and what it was like being right there. But I find it exciting as well because, to me, Phoebe Philo epitomised this change in her SS10 collection for Céline. The series of clothes were simply a constant juxtaposition of this hardness and softness both in fabric and in colour without having the two elements ever merging. They coexist and complement each other perfectly always keeping their essence and remaining individual —a tough mission to accomplish.
[Pictures credit: Style.com]

Click here to see the highlights of the show on video. And, please, google Phoebe Philo —she's such a cutie!

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PS. I want to dedicate this post to P, for always listening to my eternal fashion lectures.

coming up...

Stay tuned for a recap of S/S10 Italian men's fashion week!

Trussardi 1911

[Picture credit: Men.Style.com]

I'm off.

strokes of grandeur

Nicholas Ghesquière has made it again. After consistently pushing the boundaries of the known during the past few seasons he has made of the last Balenciaga collection a fashion feast where subtle genius seems like too much for the eye to take. There are no more futuristic shafts of sci-fi colours or armour-like silhouettes. Instead, Ghesquière strolls between exquisitely wearable prêt-a-porter and indulgent fashion-forward. Skirts, blouses and dresses in chiffon, silk and velvet are combined with elegant hues like bottle green, black and grey with seductive nude details. My favourite? The blue and green high-neck dress with velvet polka dot and draped skirt.

I'm off.

prêt-a-pour-MOI

Even though Men's Fashion Week came and went and the shows occurring at the moment in NYC should be entirely devoted to womenswear, there has been some room for the last of men's collections. I present you with my two favourites and with Antonio Azzuolo, an Italian designer whose creations seem almost custom-made pour moi and my best buddy —Chuck Bass, that is. Have a look.

Sartorial at its best. Elements from different fashion epochs merge to create these extremely up-to-date collection with a touch of Italian cool and exquisite tailoring.

Give me some rolled-up trousers and a semi-loose cardigans and I am on board. Loden Dager was all about simple ensembles brought to life by means of a subtle game of textures and colours. It does feel a bit too springy but there is nothing a good pair of argyle wool socks and a coat cannot mend.

Street style meets nerd. Trousers stay up (wonder how long they are going to keep it up) and waists do the same. Fits loosen up to give that air of illness to the skinny community. The outfits do not thrill me as a whole but as separate pieces the garments are priceless.

[Picture credits: Men.Style.com, AntonioAzzuolo.com]

I'm off.