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Monday, June 27, 2011
Friday, June 24, 2011
Louis Vuitton F/W 2011
The trace of fetishism seen at the Marc Jacobs show snowballed into what became the designer's delightfully kinky Fall/Winter collection for Louis Vuitton. And what better house to explore the interplay of ideas between fetish and fashion than the house with a logo that defined the label-lusting late 90's and early 2000's (it all sort of blends together)? I certainly haven't forgotten seeing a nude, David LaChapelle-captured Lil' Kim covered in only LV iconography. Our dear Mr. Jacobs seems to find humor in the logo's power anytime he gets a chance, whether it be in the form of lace or even incorporated into a fan (a la Spring/Summer 2011), and this collection is no exception.
Alongside the dialogue between fashion and fetish, Jacobs found inspiration in the 1974 film, The Night Porter (style.com). The Stephen Jones-created caps served as a rather direct reference to the film (which reeks of fetish as well), though the furry fabric that covered many of them, brought them into a realm of playfulness—but then again, perhaps that makes it all the more kinky. Hot rubber boots, jeweled handcuffs, and a general trend toward less clothing—whether that be constituted by sheer fabric or absence of pants entirely—drove home the message that fashion is fetishistic, especially when covered in the famed monogram. Mariacarla Boscono as a French maid (complete with feather duster) looked impossibly devilish, despite her prim Peter Pan collar. Other notable casting moments included a bevy of supermodels. Kate Moss closed the show with a cigarette in hand. Incredible. The collection as a whole often employed a lot of sculpted, curved lines, even appearing bulky at times, but for some reason the exaggerated silhouette worked. The bulbous shapes stood in contrast to more obvious expressions of sexuality, though I would suggest they were employed to add whimsy and humor to the collection.
In an interview with style.com, Jacobs discussed commitment and devotion to Fashion. Those handcuffs are perhaps his most striking example. The idea of inhibiting movement for the sake of aesthetics is absolutely beautiful. For all that fashion is criticized for, Jacobs finds joy in. But who wouldn't take joy in poking fun at one's employer and getting paid to do it? It's no secret that the bulk of the money made by the fashion house comes from handbags, while the ready-to-wear provide marginal returns. If for no other reason than that, Marc Jacobs is a genius.
Alongside the dialogue between fashion and fetish, Jacobs found inspiration in the 1974 film, The Night Porter (style.com). The Stephen Jones-created caps served as a rather direct reference to the film (which reeks of fetish as well), though the furry fabric that covered many of them, brought them into a realm of playfulness—but then again, perhaps that makes it all the more kinky. Hot rubber boots, jeweled handcuffs, and a general trend toward less clothing—whether that be constituted by sheer fabric or absence of pants entirely—drove home the message that fashion is fetishistic, especially when covered in the famed monogram. Mariacarla Boscono as a French maid (complete with feather duster) looked impossibly devilish, despite her prim Peter Pan collar. Other notable casting moments included a bevy of supermodels. Kate Moss closed the show with a cigarette in hand. Incredible. The collection as a whole often employed a lot of sculpted, curved lines, even appearing bulky at times, but for some reason the exaggerated silhouette worked. The bulbous shapes stood in contrast to more obvious expressions of sexuality, though I would suggest they were employed to add whimsy and humor to the collection.
In an interview with style.com, Jacobs discussed commitment and devotion to Fashion. Those handcuffs are perhaps his most striking example. The idea of inhibiting movement for the sake of aesthetics is absolutely beautiful. For all that fashion is criticized for, Jacobs finds joy in. But who wouldn't take joy in poking fun at one's employer and getting paid to do it? It's no secret that the bulk of the money made by the fashion house comes from handbags, while the ready-to-wear provide marginal returns. If for no other reason than that, Marc Jacobs is a genius.
Aymeline Valade
Raquel Zimmerman
Tati Cotliar
Rianne Ten Haken
Freja Beha Erichsen
Marike Le Roux
Daphne Groeneveld
Olga Sherer
Naomi Campbell
Zuzanna Bijoch
Dempsey Stewart
Britt Maren
Daga Ziober
Elsa Sylvan
Danielle Zinaich
Bruna Tenorio
Carmen Kass
Alana Zimmer
Natasha Poly
Mariacarla Boscono
Jessica Stam
Kate Moss
Wednesday, June 15, 2011
Alexander McQueen F/W 2011
With the "Savage Beauty" exhibition at the Met's Costume Institute, the wedding dress worn by Kate Middleton, among other dedications to the late Lee McQueen, it seems that even in death, the great designer's presence is no less felt. This is due in no small part to Sarah Burton's contributions to her mentor's fashion house. She has been praised by countless members of the fashion community for presenting a vision that is more feminine and approachable, all the while maintaining the McQueen DNA.
The Fall/Winter 2011 show, bearing the theme "The Ice Queen and her court," was a powerful presentation of Burton's personal touch, alongside the harder, tortured aesthetic that McQueen's work thrived on. Even the most pure and seemingly precious looks had their share of fight, whether it be shaved tulle on a skirt or long spikes coming out of wedge heels. This is a warrior queen, rather than one who spends the day lazing about. The beautiful helmet-like concentration of barrettes on each model, created by Guido Palau, further stressed this narrative, of a woman both ethereal and sovereign. The vast amount of fur incorporated into the collection provides for a feeling of ferocity and aggression that I find absolutely beautiful. The bondage elements are another highlight that (to me) reads as empowering. It's not that these women want to be tied up or dominated, but their choice to present themselves in this way shows power over one's body and sexual agency. The heavy emphasis on white garments might have come off as one-dimensional if created by another hand, but Burton and her team's attention to detail is absolutely extraordinary. The mosaic-esque bodice on Nimue Smit is a particular white-heavy standout in the realm of evening wear. Lest we forget McQueen's love of fantastical footwear, this season brought an array of incredible shoes, from the sexy lace-up variations to the black feathered wedges with metal plating. These serve as a reminder that McQueen's spirit and search for beauty was without limits. Just as the idea of beauty doesn't end with a dress (it may mean a head covered in barrettes or a fabulous pair of shoes), the same ideas of beauty don't end with what we think of as traditionally beautiful. Beauty can be found in the most horrifying of places, as McQueen asserted throughout his career. We must simply look with open eyes to find it.
Freja Beha Erichsen
Emily Baker
Daria Strokous
Julia Saner
Madelen de la Motte
Kinga Rajzak
Alana Zimmer
Shu Pei Qin
Karmen Pedaru
Lisanne De Jong
Sigrid Agren
Siri Tollerød
Mirte Maas
Nimue Smit
Patricia van der Vliet
Jac
Suvi Koponen
Frida Gustavsson
Kirsi Pyrhonen
Photos via style.com
The Fall/Winter 2011 show, bearing the theme "The Ice Queen and her court," was a powerful presentation of Burton's personal touch, alongside the harder, tortured aesthetic that McQueen's work thrived on. Even the most pure and seemingly precious looks had their share of fight, whether it be shaved tulle on a skirt or long spikes coming out of wedge heels. This is a warrior queen, rather than one who spends the day lazing about. The beautiful helmet-like concentration of barrettes on each model, created by Guido Palau, further stressed this narrative, of a woman both ethereal and sovereign. The vast amount of fur incorporated into the collection provides for a feeling of ferocity and aggression that I find absolutely beautiful. The bondage elements are another highlight that (to me) reads as empowering. It's not that these women want to be tied up or dominated, but their choice to present themselves in this way shows power over one's body and sexual agency. The heavy emphasis on white garments might have come off as one-dimensional if created by another hand, but Burton and her team's attention to detail is absolutely extraordinary. The mosaic-esque bodice on Nimue Smit is a particular white-heavy standout in the realm of evening wear. Lest we forget McQueen's love of fantastical footwear, this season brought an array of incredible shoes, from the sexy lace-up variations to the black feathered wedges with metal plating. These serve as a reminder that McQueen's spirit and search for beauty was without limits. Just as the idea of beauty doesn't end with a dress (it may mean a head covered in barrettes or a fabulous pair of shoes), the same ideas of beauty don't end with what we think of as traditionally beautiful. Beauty can be found in the most horrifying of places, as McQueen asserted throughout his career. We must simply look with open eyes to find it.
Freja Beha Erichsen
Emily Baker
Daria Strokous
Julia Saner
Madelen de la Motte
Kinga Rajzak
Alana Zimmer
Shu Pei Qin
Karmen Pedaru
Lisanne De Jong
Sigrid Agren
Siri Tollerød
Mirte Maas
Nimue Smit
Patricia van der Vliet
Jac
Suvi Koponen
Frida Gustavsson
Kirsi Pyrhonen
Photos via style.com
Tuesday, June 7, 2011
Almost there...
It's been a while since I've posted, as I've been busy with school. Classes for the quarter have come to an end and finals week has officially started, though I'm done with all but one test. This is a consolidation of the music that's been keeping me going. I'll let two of my favorite queens do the talking.
P.S. As you might have noticed, I've acquired a new banner. The photo itself was taken by my dear friend Gillian Spencer and edited in part by each of us. I'm so tech-savvy that I used Paint to place the text over the image. Very fancy, no? To Gill, thank you for the lovely images, doing my makeup (as always), and for being patient with me rolling around in my bed for an extended period of time.
P.S. As you might have noticed, I've acquired a new banner. The photo itself was taken by my dear friend Gillian Spencer and edited in part by each of us. I'm so tech-savvy that I used Paint to place the text over the image. Very fancy, no? To Gill, thank you for the lovely images, doing my makeup (as always), and for being patient with me rolling around in my bed for an extended period of time.
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