Backstage Fashion & Frolic

Paris, fall '12
Photos by Sonny Vandevelde
Music by The Hacker (are your headphones on?)

Click image for a pop-up slideshow...

• Posted Mar 05, 2012
• Comment
  Tweet

Viktor & Rolf

Against the backdrop of bright moonlit night, models entered dreamily onto the catwalk, perhaps distracted by a romantic sentiment. They moved to the plaintive strains of composer Max Richter’s 2004 album The Blue Notebook, which features Franz Kafka excerpts spoken by Tilda Swinton.

Such was the theme of Viktor & Rolf’s fall collection, a Victorian midnight. The doll being a recurring motif in the designers' repertoire, they presented a dark, moody, make-believe collection. Out came feather-light tulle gowns with glass embroidery and silk fringing, followed by strong eveningwear with high collars and elaborate fur trim. Sometimes fur was the focus, artfully sheared as if Edward Scissorhands topiary. One has learned to expect the unexpected from the Dutch duo, and here surprises emerged in sumptuous metal-sheen silks draped like oversized pajamas.

The moon has always been associated with the feminine mystique and lyrical longing. This collection left you moonstruck and wanting to wax poetic.

• Posted Mar 03, 2012
• Comment
  Tweet

Vivienne Westwood

Most designers, when titling a collection London, would aim to communicate a spirit of place. Vivienne Westwood is not most designers. Instead, she presented a fairly comprehensive survey of the capital’s fashion history in a collection that made up with sheer exuberance what it lacked in internal cohesion. Four hundred years of heritage were spliced, remixed and covered in sequins. From the tweeds of Savile Row to the frou-frou petticoats of punk-era Kings Road, no part of town was exempt from her royal magpie’s aesthetic.

At times, too, it played almost like a greatest hits collection—hardly contradictory in light of her decades-long impact on British fashion and culture. There were, of course, tartan miniskirts and platform shoes, but her famed fascination with historical costume made an appearance with deep V-shaped stomachers and billowing two-tone taffeta cocoon coats. One look paired a jeweled Elizabethan bodice with ravaged Union Jack leggings in a way that recalled the revisionism of film director Derek Jarman. Baroque brocade was applied liberally while a velvet corset with lavish gold military frogging owed as much to Lacroix as Delacroix. Even Westwood's knack for imperiling models was undimmed; a modern Naomi Campbell moment was almost recreated by the poor girl in four-inch platforms sent down the runway on a bicycle.

Acknowledging the deviation from the political head-clubbing of her recent work, Westwood spoke afterwards of wanting to escape dour contemporary times by immersing herself in the splendors of the past. The only hint of sloganeering was visible on a T-shirt emblazoned with the words London Blackout. An oblique economic reference or a protest against light pollution? With Dame Viv, it could be either of the above.

• Posted Mar 03, 2012
• Comment
  Tweet

Lanvin

Betsey Johnson still pulls off her age-defying cartwheels on the runway. John Galliano has impersonated historical characters, including Napoleon. And Jean Paul Gaultier has chased Inès de La Fressange down his catwalk. But tonight, Lanvin's Alber Elbaz might have taken one of the most unusual and touching bows in recent memory. After the models retreated backstage, the backdrop parted to reveal an orchestra in an enchanted setting, with none other than Elbaz himself as the lead singer. "I've been training for this. I want to thank the people who helped me realize my dream. I love you," the designer announced, before serenading the giddy audience with Que Sera Sera. The drag singer Joey Arias then took over, while Elbaz went down the runway to plant kisses on the cheeks of a few front-row guests.

Then the party celebrating his ten-year tenure at Lanvin began, complete with scrumptious patisseries, champagne galore, paillette blizzards, and singalong hits like Funkytown and I Wanna Dance With Somebody. Midway through the festivities, attended by the likes of Tilda Swinton and Dita Von Teese, a fellow journalist whispered, "See, girls can actually dance in Lanvin."

It's true that Elbaz's user-friendly approach has the advantage of no-brainer prettiness and unconstrained proportions. That same mantra ran through the show, starting with zestful, colorful peplumed suits in what looked like neoprene—plain except maybe for a zipper at the back. Then embellishment came in the form of cocktail dresses richly bejeweled or adorned with coiled ruffles. A sudden gold eruption brought brocade fabrics and a beautiful hooded lamé coat on Jamie Bochert. And the great ending section—i.e. a black lace minidress with blue elbow length gloves, a red coat and belt, and pink shoes—had an unmistakably offbeat, whimsical Christian Lacroix quality.

Rather than exploring new routes, the show (and the party, for that matter) summed up the formula that has made Lanvin such a hit on Elbaz's watch. Despite all the house's success, the designer has strived to convey innocent sentimentality, promoting universally comforting things like Parisian chic, sweets and cheerful music. Women now go to Lanvin's shows and stores for their love fix, the way they would reach for the chocolate box on a girl's night in.

• Posted Mar 02, 2012
• Comment
  Tweet

Dior

Bill Gaytten's collection for Christian Dior couldn't have been under greater scrutiny. In the last week alone, all of Raf Simons, Stefano Pilati, and Christopher Kane have been anticipated to fill John Galliano's throne at Dior, now that a full year has passed since his untimely exit. But none of the speculation surrounding the house seems to have distracted Gaytten, who's steadily risen from Galliano's right-hand man to de facto creative director, from the work at hand.

His fall '12 outing consisted of skillful tailoring and soft layers, playing on Dior's trademark balance of femininity and masculinity. These were very wearable garments, modifying early Dior trademarks as well as Galliano's more flamboyant stamp upon the label. Fifties-era silhouettes with belted peplums and midi-skirts were updated with cropped trousers, loads of leather and platform court shoes, giving a masculine edge to the ballerina flounce of light-as-air fabrics in powdery pinks and mauves.

The final evening show-stoppers were classic Dior, creating a perfect hourglass shape. The last of these, donned by a regal Karlie Kloss, came with floor-length sheer pleats in a deep burgundy, which has proven to be a popular shade across many collections this season.

Based on the strength of the collection, perhaps Gaytten will be allowed to ease into the helm at Dior, which at this point seems to be one of the last options on the table.

• Posted Mar 02, 2012
• Comment
  Tweet

Maison Martin Margiela

On entering the the Hotel Salomon de Rothschild for the Maison Martin Margiela show, I was immediately struck by the glamour, beauty and airiness of the setting. Each guest was provided a perfect 360-degree view, no matter which room we were democratically stationed in. Having seen so many Margiela shows in far and remote locations—basements, tabletops of a wedding hall, the back of a bar on Isle de la Cite, the dark catacombs of a museum—this felt like a complete departure from the underground label it once was. Only the subtle tromp l’oeil of the parquet floor that morphed into woodgrain on seats and backdrop gave a nod to the brand and a clue to the nature of the collection to come.

The show opened with the soundtrack from Wim Wender’s 3D film Pina. An uplifting and amusing tribute to Pina Bausch, the talented choreographer who, although no longer with us, left her dazzling and provocative ideas to the world of dance and her company to carry forward. Here too, for different reasons, was a charming collection of clothes and a wonderful tribute by le Maison to the designer who has departed his own house and company.

In past seasons, this task was a difficult undertaking that at times felt a little over-wrought with too much concept and trickery, and not a whole lot to wear. But this season, it was as if they had shrugged off the heavy load and performed as lightly and elegantly as dancers who feel the music rather than think it.

There was still evidence of wit, for example as a double-breasted coat with the sleeves tucked into front pockets that was actually a cape, made visible when we saw the models' bare arms folded casually behind her. And deconstruction, pretty much invented by Margiela, came in the form of vintage kimonos that were reconstructed into wonderful long skirts and cutaway evening dresses in faded hues. Long pleated skirts were not just split to reveal leg and thigh, but were left long one one side and cropped short on the other, as short as a miniskirt. There were also beautifully constructed tuxedos, a hybrid tunic suit over trousers, a 3-piece corduroy suit and some spectacular knits, especially super-high funnel-necked ones, that hid most of the models' faces.

For years women collected and built wardrobes of Margiela clothes that were easily intermixed with seasons before and after. I think that they would feel comfortable mixing a few pieces from this collection with the originals. It's very tromp l’oeil, after all. 

• Posted Mar 02, 2012
• Comment
  Tweet

Rick Owens

You can count on Rick Owens for first-rate showmanship. For fall, he transported his audience to a world of underground rituals. Two horizontal flames ignited the venue's pitch-black backdrop as his models slinked down the vast runway with Zebra Katz's hypnotic, naughty song Ima Read on the soundtrack ("Ima give that bitch some knowledge...What bitch wouldn't like my shit?...I called you a slut...What you gonna do bitch?")

As for the clothes, they were classic Owens: long bathrobe coats over draped tops and floor-length skirts. Although the designer sent out soft armor in the shape of round-sleeved cropped leather jackets, there was something cozy about this collection, not only in its use of knits and fuzzy mohair, but also in the soothing palette that ranged from light gray to pale apricot. The show climaxed with fur coats—recalling his stint at Revillon—traced with geometric patterns.

Owens can also boast what will probably rank as one of the hottest accessories for fall: beanie-like knit caps forming a fine lattice over the face, sure to be snatched up by girls and boys alike.

• Posted Mar 01, 2012
• Comment
  Tweet

Ann Demeulemeester

True to form, Ann Demeulemeester opened her show with a black and lean silhouette, for example leather fitted trousers under a short wrap skirt and tucked into low block-heeled buccaneer boots, gauntlet leather gloves and a short peplum jacket. The hair was a shock of gelled spikes adorned with her customary feathers, artfully placed to frame the face. Part punk, part bird of paradise, this was the wonderful work of hairstylist Eugene Souleiman.

Demeulemeester followed with a series of drape-backed dresses and long coats, some with collars that were raised to jaw height. Long black column dresses had slits unzipped to the thigh, while another was strapless and wrapped over one shoulder. A series of sleeveless cropped leather jackets had collars so large that they were more collar than jacket.

But just as we happily settled into familiar territory—i.e. sleeves that either wrap close to the arm or zip open cape-like, or layers of masculine tailoring such as a coat worn over a wrapped jacket, or dresses draped to reveal only the slightest pop of flesh—everything changed. It was as if she switched out the black cartridge for blue ink. We saw an entirely blue asymmetric leather skirt and peplum jacket with matching blue gloves. A belted blue kimono-style jacket was worn over trousers while another cropped peplum jacket and undulating skirt were so saturated in their blue that the folds looked like pages of a book consumed by its own ink.

While some designers reinvent themselves each season, Demeuleeester provides a reassuring consistency of style to her faithful followers. This season it was not about the shock of the new but the shock of the blue.

• Posted Mar 01, 2012
• Comment
  Tweet

Zandra Rhodes

The new generation may not be familiar with the work of the legendary British designer Zandra Rhodes. At best, they might remember her from her cameo appearance in Absolutely Fabulous ("Hi Zandra! It's me, Patsy. Patsy Stone").

And yet any number of pieces from her retrospective collection, which attracted industry stalwarts, could easily slip into the wardrobe of any young, fashion-loving girl of today. It was a fantastic show, unveiling one stunner after another, showing the designer's brilliant color sense, expert cutting skills, knack for prints, and unbridled embrace of 1970s exoticism and hedonism.

From the 1970 pink printed chiffon ensemble (with the edges hand-rolled) to the lamé Elizabethan dress inspired by Lady Diana's wedding gown, through a 1985 flapper number beaded to resemble Manhattan high-rises, it was a stellar career collection unfurling before us. A few new pieces were included, too. At times, with their donut-shaped headbands and glittery, glued-on make-up (perfectly in tune with Steven Meisel's new Italian Vogue cover), the models looked like they had escaped from a Guy Bourdin shoot.

As Zandra herself came out to take a bow, her hot-pink hair cut into a bob, the audience was on its feet, giving her a well-deserved standing ovation. 

• Posted Mar 01, 2012
• Comment
  Tweet

Gareth Pugh

Combining Amazonian ferocity with nunnish austerity, Gareth Pugh’s fall show was akin to a Black Mass. Abandoning his recent excursions into the light (white last season, cerulean blue and gold previously), here was a collection of exquisite, unremitting darkness.

On a runway sprinkled with rose petals, models wore a selection of long-haired furs as jackets, capes and skirts. With narrow leather bodices as armor, or harnesses, it was unclear whether Pugh’s muse was a warrior or priestess; either way, she was not of this world. Slashed leather—a Pugh favorite—also appeared in an unravelling lampshade-skirted dress and an origami-folded coat. Waists were structured and nipped-in, allowing for experiments with volume above and below. Meanwhile, sweeping folds of fabric on capes gave the impression of a sci-fi priest’s vestments. Collars were dramatic across the board, from face obscuring funnel necks to imperial cocoon shapes. They reached their apotheosis with points extending up from the sides like bat ears, echoed in insect-like, spiked shoulder pieces. Beetles, of course, are another of Pugh's perennials. Clearly not a designer swayed by trends, but what lurks in the subconscious.

• Posted Mar 01, 2012
• Comment
  Tweet