Milan has produced some stellar output this season. Favorites for Fall/Winter 2010/11 are Gabriele Colangelo, Albino, Gaetano Navarra, Francesco Scognamiglio, Marco de Vincenzo, Prada and Marni. All photos from Style.it.
A look from Gabriele Colangelo’s geologically inspired Fall/Winter 2010/11 collection
Koji Arai’s highly conceptual final year collection, “Last Supperâ€, highlights the intellectual possibilities of transitioning from a background in architecture to garment construction. Perhaps the most well-known example of this type is Miuccia Prada. A lesser-known but equally engaging example is Vincenzo de Cotiis, designer and founder of the “powerfully disciplined†label, Haute. The transition from architecture to fashion unifies these artistic disciplines, resulting in collections that provoke much thought.
Koji Arai’s “Last Supper” www.antwerp-fashion.be
When a color scheme is inspired by an urban environment, it’s not so much about pulling together different colors as it is combining shades along a continuum of the same color. Urban color schemes, if not on a grayscale, tend to be washed-out. When traditional urban garb is grayscale, greater attention is paid to the silhouette - the architecture of the silhouette mimics the architecture of a cityscape. This description defines the first of two genuinely urban looks: the Urbane and the Post-Apocalyptic Urban Primitive.
image: Yves Saint Laurent a/w 2006-7 www.style.com
image: Undercover a/w 2006-7 www.style.com
In fashion the right combination of instinct, skill and innovation shows true mastery of the craft. It is critical to be inspired by the past, but it is equally critical to invent. At the big shows there seems to be a line drawn between what is wearable and what is merely artistic gesture. Unfortunately this translates into looks that are sellable and looks that aren’t.
There is no need to belong exclusively to either the Gareth Pugh camp
image: Gareth Pugh a/w 2006-7 www.style.com
…or the Monique Lhuillier camp.
image: Monique Lhuillier a/w 2006-7 www.style.com
The progressive or the play-it-safe.
Fashion is about the seamless blend of tradition and modernity. There are designers who tread the delicate line of being inspired by timeless elements and original conception. This is a testament to skill. I would argue that a good many Japanese designers tread this line gracefully. Examples include:
Tao Kurihara of Tao
image: Tao a/w 2006-7 www.style.com
Yohji Yamamoto
image: Yohji Yamamoto a/w 2006-7 www.style.com
Mami Yoshida and Patrick Ryan of Yab-Yum
image: Yab-Yum a/w 2006-7 www.yab-yum.com
Tsumori Chisato
image: Tsumori Chisato a/w 2006-7 www.aufeminin.com
Jun Takahashi of Undercover
image: Undercover a/w 2005-6 www.style.com
As much as I am obsessed with the talent coming out of Japan, the fusion of timelessness and modernity can also be found in the work of:
Miuccia Prada
image: Prada s/s 2006 www.style.com
Alexander McQueen
image: Alexander McQueen a/w 2004-5 www.style.com
Sabyasachi Mukherjee
(look for Sabyasachi at Olympus Fashion Week
in New York next season!)
image: Sabyasachi Mukherjee, the snail collection 2006 www.specials.rediff.com
Nicholas Ghesquiere of Balenciaga
image: Balenciaga a/w 2006-7 www.style.com
Alber Elbaz of Lanvin
image: Lanvin s/s 2005 www.vogue.co.uk
bruno Pieters
image: bruno Pieters a/w 2006-7 www.vogue.co.uk
Alexandre Herchcovitch
image: Alexandre Herchcovitch a/w 2006-7 www.style.com
Viktor & Rolf
image: Viktor & Rolf a/w 2006-7 www.style.com
Sandra Backlund
(Her work is so inspirational I’m posting two images.
For more see link below.)
image: Sandra Backlund, perfect hurts collection www.sandrabacklund.com
image: Sandra Backlund, body, skin and hair collection www.sandrabacklund.com
Fashion needs its visionaries, even if there seems to be little tolerance in the industry for them at the moment. Jum Nakao and Gareth Pugh are visionaries. An example of Jum Nakao’s work:
image: Jum Nakao s/s 2005 www.dailytimes.com.pk
The extent of their “vision†or “progressiveness†is a matter of eventuality. In other words, the measure of modernity in their designs – if not already clear - will become clear when imitations or watered-down versions emerge either on future runways or on the street. I believe this is what’s meant by Cathy Horyn’s comment in reference to John Galliano: “The modernity of Mr. Galliano’s torn-apart approach was eventually borne out in the imitations.†(www.nytimes.com May 21, 2006)
