7:44 PM
admin
"Thank you to all members of the US Navy's 7th fleet. The Japanese people will not be defeated."
In reference to: US Navy 7th Fleet Update from Japan
See also:
Operation Tomodachi Logo by Murakami Senami
Thursday, March 31, 2011
Hokkaido Thanks US Navy 7th Fleet
"Thank you to all members of the US Navy's 7th fleet. The Japanese people will not be defeated."
In reference to: US Navy 7th Fleet Update from Japan
See also:
Operation Tomodachi Logo by Murakami Senami
Wednesday, March 30, 2011
Japan Nuclear Reactors in Full Meltdown
Not trying be a scaremonger, but more and more experts are saying that the Fukushima catastrophe is now a full-blown meltdown:
When the Fukushima Meltdown Hits Groundwater
By Dr. Tom Burnett
March 27, 2011
Via Hawaii News Daily
"Fukushima is going to dwarf Chenobyl. The Japanese government has had a level 7 nuclear disaster going for almost a week but won’t admit it."
"At Fukushima, the reactor cores are still melting down. The ONLY way to stop that is to detonate a ~10 kiloton fission device inside each reactor containment vessel and hope to vaporize the cores. That’s probably a bad solution."
"A nuclear meltdown is a self-sustaining reaction. Nothing can stop it except stopping the reaction. And that would require a nuclear weapon. In fact, it would require one in each containment vessel to merely stop what is going on now. But it will be messy."
See also:
Japan Prediction: Nuclear Holocaust, Tokyo Evacuated
Prophecy of Japan Nuclear Holocaust
When the Fukushima Meltdown Hits Groundwater
By Dr. Tom Burnett
March 27, 2011
Via Hawaii News Daily
"Fukushima is going to dwarf Chenobyl. The Japanese government has had a level 7 nuclear disaster going for almost a week but won’t admit it."
"At Fukushima, the reactor cores are still melting down. The ONLY way to stop that is to detonate a ~10 kiloton fission device inside each reactor containment vessel and hope to vaporize the cores. That’s probably a bad solution."
"A nuclear meltdown is a self-sustaining reaction. Nothing can stop it except stopping the reaction. And that would require a nuclear weapon. In fact, it would require one in each containment vessel to merely stop what is going on now. But it will be messy."
See also:
Japan Prediction: Nuclear Holocaust, Tokyo Evacuated
Prophecy of Japan Nuclear Holocaust
Tuesday, March 29, 2011
Sexy Japanese Nuclear Lingerie Fashion Line
Just a week or so ago, the first sighting of Japanese Nuclear Fashion was reported. Well, now I bring you the all-new Sexy Japanese Nuclear Lingerie Fashion Line:
See also: FASHION NEWS UPDATE: TAIWAN GIRLS WEAR PANTIES IN PUBLIC!
See also: FASHION NEWS UPDATE: TAIWAN GIRLS WEAR PANTIES IN PUBLIC!
Sunday, March 27, 2011
David Bowie's "Toy" Internet Smash Hit
Just a few days ago, David Bowie's unreleased album Toy was leaked online:
"A decade after it was shelved by his label, David Bowie's 23rd studio album has been leaked on the internet. Toy, conceived as a reimagining of Bowie's early work, appeared on file-sharing websites this week, with Bowie's reps refusing to comment."
"A week after an Australian man sold a purported copy of Toy on eBay (it sold for £62.98), a CD-quality MP3 version of the album suddenly appeared on BitTorrent, spreading like (ziggy) stardust."
And, as usual, here is another account on how Toy was leaked:
"The album's original uploader goes by the online nickname Brigstow which is a word play on where he comes from - Bristol, UK."
"Brigstow's reasons for uploading "Toy" sound just as unconventional as the site he chose to upload the album on. He wanted to put a stop to what he considered gross exploitation from eBay sellers that were posting "Toy" album CDs for auction starting at as much as $55 per piece."
"Brigstow stated categorically that the upload was based on a bootleg CD he bought, although initial rumors had stated the unknown uploader had bought the CD from Australia via eBay. "
Well, now it is all on Youtube and here is one of the highlights entitled "Shadow Man":
Listen to all of the tracks on "Toy"
Documentary on Japan Earthquake and Tsunami
Just released, here is an excellent documentary on the recent earthquake and tsunami in Japan:
Help Japan
Help Japan
Friday, March 25, 2011
Prophecy of Japan Nuclear Holocaust
In 1990, one of Japan's greatest film producers Akira Kurosawa wrote the screenplay for his movie Dreams. This film consists of eight vignettes based on actual dreams that Kurosawa experienced. One of those is this prophetic and harrowing story entitled "Mount Fuji in Red":
See also: Japan Prediction: Nuclear Holocaust, Tokyo Evacuated
Help Japan
See also: Japan Prediction: Nuclear Holocaust, Tokyo Evacuated
Help Japan
Tuesday, March 22, 2011
Sunday, March 20, 2011
Operation Tomodachi Logo by Murakami Senami
On March 12, 2011, the US armed forces began the current relief effort known as Operation Tomodachi. Here is the unofficial Japanese logo by Murakami Senami:
Saturday, March 19, 2011
Japan Prediction: Nuclear Holocaust, Tokyo Evacuated
March 19, 2011: Via NEWiS - Exclusive!!! Who predicted disaster in Japan
In the early 2000s, Russian blogger/engineer Artem Dragunov had a motorcycle accident and was in a coma for 2 days. After that he started having dreams about the future, writing them on his blog, and many of them have come true! On February 21, 2011 he predicted the recent earthquake in Japan.
And his future prediction for Japan is very dire:
And on March 11th, the day of the quake, he wrote the below comment on his blog Guest from the Future Dream 20022011:
"Let's count. Dreamed a dream the night of Feb. 21. Today 11. Three weeks shorter.
Just at that time dreamed of a lot of water and a couple of big fucking. 11 plus 21 - the beginning of May. HERE Remember - early May .."
Hopefully, this time he'll be wrong.
In the early 2000s, Russian blogger/engineer Artem Dragunov had a motorcycle accident and was in a coma for 2 days. After that he started having dreams about the future, writing them on his blog, and many of them have come true! On February 21, 2011 he predicted the recent earthquake in Japan.
And his future prediction for Japan is very dire:
And on March 11th, the day of the quake, he wrote the below comment on his blog Guest from the Future Dream 20022011:
"Let's count. Dreamed a dream the night of Feb. 21. Today 11. Three weeks shorter.
Just at that time dreamed of a lot of water and a couple of big fucking. 11 plus 21 - the beginning of May. HERE Remember - early May .."
Hopefully, this time he'll be wrong.
Wednesday, March 16, 2011
From North Korea: 'Pyongyang Style' by Steve Gong
Steve Gong recently went to North Korea and filmed this stunningly beautiful video with a hidden camera:
"Pretty much the only way anyone can visit North Korea is by joining a tour. The entire time while you’re in North Korea, you’re not allowed to go anywhere without minders following you around. These tour guides also restrict the amount of contact you can have with the locals, and it’s extremely difficult, if not impossible, to have any chances of interacting with a North Korean civilian.
This video is an insight into just that – what interacting with a North Korean civilian might be like."
Via Gizmodo
"Pretty much the only way anyone can visit North Korea is by joining a tour. The entire time while you’re in North Korea, you’re not allowed to go anywhere without minders following you around. These tour guides also restrict the amount of contact you can have with the locals, and it’s extremely difficult, if not impossible, to have any chances of interacting with a North Korean civilian.
This video is an insight into just that – what interacting with a North Korean civilian might be like."
Via Gizmodo
Tuesday, March 15, 2011
Japan's Earthquake Alarm System TV Broadcast
Here is a truly incredible video showing how Japan's ElarmS system worked:
"ElarmS, or Earthquake Alarm Systems, can provide warning of ground shaking during an earthquake. The objective is to rapidly detect the initiation of an earthquake, estimate the level of ground shaking to be expected, and issue a warning before significant ground shaking starts."
"ElarmS, or Earthquake Alarm Systems, can provide warning of ground shaking during an earthquake. The objective is to rapidly detect the initiation of an earthquake, estimate the level of ground shaking to be expected, and issue a warning before significant ground shaking starts."
Monday, March 14, 2011
Saturday, March 12, 2011
Help Japan with your website or blog
Help Japan with a couple lines of code on you website
"The Hello Bar is a simple website toolbar that engages users and communicates a call to action. With the disaster in Japan getting worse, many people are looking for ways to help in whatever way possible. If you are unable to donate, or to offer your services, you can help if you run a website. Hello Bar which is simple piece of code that is put in the body tag within your website, which will display a bar on the top of your website can help with the promotion and help influence people to donate. Larger website will no doubt start using their own techniques in helping promote the need for aid for Japan, and what better way to do this than to put a bar across the top of the screen which wont go unseen."
This is a donation request for the American Red Cross. Copy and paste the below HTML code into the body tag of your website or blog:
See more here.
"The Hello Bar is a simple website toolbar that engages users and communicates a call to action. With the disaster in Japan getting worse, many people are looking for ways to help in whatever way possible. If you are unable to donate, or to offer your services, you can help if you run a website. Hello Bar which is simple piece of code that is put in the body tag within your website, which will display a bar on the top of your website can help with the promotion and help influence people to donate. Larger website will no doubt start using their own techniques in helping promote the need for aid for Japan, and what better way to do this than to put a bar across the top of the screen which wont go unseen."
This is a donation request for the American Red Cross. Copy and paste the below HTML code into the body tag of your website or blog:
See more here.
Thursday, March 10, 2011
Deerhoof vs. Evil - The Merry Barracks
Deerhoof just released a new album with this featured single "The Merry Barracks":
See more about this new release here: Deerhoof vs. Evil
Be sure to listen to more tracks at Deerhoof vs. Evil | Global Album Leak
See more about this new release here: Deerhoof vs. Evil
Be sure to listen to more tracks at Deerhoof vs. Evil | Global Album Leak
Live From... Paris Fashion Week, Day 9
Louis Vuitton
The final day of Paris saw an S&M extravaganza from Marc Jacobs for Louis Vuitton, with the designer taking a tongue-in-chic 30s-style romp through what looked like the Frederick's of Hollywood back-catalogue. The collection combined demure Peter Pan-collared dresses with subversive transparent pencil skirts, Night Porter-style sheer jodhpurs and strict military patent trench coats. Add a sumptuous 30s deco setting, complete with uniformed bellhops and Kate Moss smouldering down the runway, and you have a sex-on-legs collection that put a touch of raunchy razzamatazz into an early Wednesday morning showing.
The look: Deco sex sirens
Silhouette: Strictly hourglass
Key items: The patent wasp-waisted corset was the tipping point for a collection that teamed sheer organza shirts and skirts and Night Porter-style jodhpurs with strict pencil skirts and waist-cinched patent trench coats, rubberised lace maid’s dresses and strict sheath dresses in washed suede and feathers. Overscaled masculine tailored jackets and coats with big sloping shoulders were whittled to hand-span-width waists and tongue-in-cheek, butter-wouldn’t-melt buttoned-up dresses were teamed with Sunday-best white collars, a subversive fetish conversational print and big, childlike buttons. There were lingerie-inspired looks too in the knitted all-in-ones, while coats were big and cocooning with patent-trimmed Mongolian lamb. For evening, shards of glittering paillettes worked for simple A-line skirts and little shell tops
Colour: Rich darks such as bottle and damson were offset with black, white, midnight and grey with accents of blood red and cobalt blue
Fabric & knit: Sumptuous if incongruous mixes of washed suede, patent leather, moulded techno fabrics, feathers, dyed Mongolian lamb, cashmere and tweed
Print & pattern: A quirky conversational print of fetish motifs worked in dark grounds or matt-shine black-on-black colourways
Details & trims: White Peter Pan collars, big childlike buttons, contrast piping, gold buttons, velvet trims
Footwear: Subversive high-heeled rubber boots, high-heeled ankle-strap pumps, high laced boots
Accessories: Rubber gloves, sheer hold-up stockings, Night Porter military caps, fur muffs, fur LV bags, bucket bags, winter white patent bags, sequinned blindfolds
Miu Miu
After the brash-trash metallic leathers of last season, Miuccia Prada took a more elegant turn for winter, drawing reference from the 1940s - a time of womanly sophistication. Despite a FROW jam-packed with young Hollywood starlets, the key message was for grown-up glamour, albeit with a flash of glitter splashed across the feet.
The look: 40s
Silhouette: Strong-shouldered wedge
Key items: Coats were drop-waisted and wedge-shaped, tapering to the knee from a strong squared shoulderline, some accentuated with mink shoulder details; there were also shorter boxy DBs and others with an exaggerated domed shoulder. Long-sleeved dresses were pinched at the natural or dropped waistline, and sometimes layered with short peplum skirts in dense wool or a twisted mink cumberbund, while a sporty passage in the middle of the collection offered pencil skirts topped with elongated sweatshirts, and a luxe tracksuit comprising an abbreviated sweatshirt worn with tailored jogging pants
Colour: Black, white, rust, mustard, navy and taupe
Fabric & knit: Cashmere, flannel, wool, compact tweed, silk, natural-colour brown mink
Print & pattern: Swallows - a revisited motif for Miu Miu - were rendered in a painterly effect; sprays of white flowers - lily of the valley, daisies and dandelion clocks
Details & trims: Shoulderlines were either strong and square, or rounded via a tapered 40s-style leg-of-mutton sleeve; pointed collars, off-centre coat closures, grosgrain ribbons, twisted mink cumberbunds and mink shoulder details, pinched ruching on dresses at natural or dropped waistlines, sequinned floral embroideries for evening looks
Footwear: Glittery peep-toe booties, ankle-strapped shoes with a folded fin
Accessories: Oversized pip-clasp purses, baseball caps, tortoiseshell or glitter resin-framed sunglasses
The final day of Paris saw an S&M extravaganza from Marc Jacobs for Louis Vuitton, with the designer taking a tongue-in-chic 30s-style romp through what looked like the Frederick's of Hollywood back-catalogue. The collection combined demure Peter Pan-collared dresses with subversive transparent pencil skirts, Night Porter-style sheer jodhpurs and strict military patent trench coats. Add a sumptuous 30s deco setting, complete with uniformed bellhops and Kate Moss smouldering down the runway, and you have a sex-on-legs collection that put a touch of raunchy razzamatazz into an early Wednesday morning showing.
The look: Deco sex sirens
Silhouette: Strictly hourglass
Key items: The patent wasp-waisted corset was the tipping point for a collection that teamed sheer organza shirts and skirts and Night Porter-style jodhpurs with strict pencil skirts and waist-cinched patent trench coats, rubberised lace maid’s dresses and strict sheath dresses in washed suede and feathers. Overscaled masculine tailored jackets and coats with big sloping shoulders were whittled to hand-span-width waists and tongue-in-cheek, butter-wouldn’t-melt buttoned-up dresses were teamed with Sunday-best white collars, a subversive fetish conversational print and big, childlike buttons. There were lingerie-inspired looks too in the knitted all-in-ones, while coats were big and cocooning with patent-trimmed Mongolian lamb. For evening, shards of glittering paillettes worked for simple A-line skirts and little shell tops
Colour: Rich darks such as bottle and damson were offset with black, white, midnight and grey with accents of blood red and cobalt blue
Fabric & knit: Sumptuous if incongruous mixes of washed suede, patent leather, moulded techno fabrics, feathers, dyed Mongolian lamb, cashmere and tweed
Print & pattern: A quirky conversational print of fetish motifs worked in dark grounds or matt-shine black-on-black colourways
Details & trims: White Peter Pan collars, big childlike buttons, contrast piping, gold buttons, velvet trims
Footwear: Subversive high-heeled rubber boots, high-heeled ankle-strap pumps, high laced boots
Accessories: Rubber gloves, sheer hold-up stockings, Night Porter military caps, fur muffs, fur LV bags, bucket bags, winter white patent bags, sequinned blindfolds
Miu Miu
The look: 40s
Silhouette: Strong-shouldered wedge
Key items: Coats were drop-waisted and wedge-shaped, tapering to the knee from a strong squared shoulderline, some accentuated with mink shoulder details; there were also shorter boxy DBs and others with an exaggerated domed shoulder. Long-sleeved dresses were pinched at the natural or dropped waistline, and sometimes layered with short peplum skirts in dense wool or a twisted mink cumberbund, while a sporty passage in the middle of the collection offered pencil skirts topped with elongated sweatshirts, and a luxe tracksuit comprising an abbreviated sweatshirt worn with tailored jogging pants
Colour: Black, white, rust, mustard, navy and taupe
Fabric & knit: Cashmere, flannel, wool, compact tweed, silk, natural-colour brown mink
Print & pattern: Swallows - a revisited motif for Miu Miu - were rendered in a painterly effect; sprays of white flowers - lily of the valley, daisies and dandelion clocks
Details & trims: Shoulderlines were either strong and square, or rounded via a tapered 40s-style leg-of-mutton sleeve; pointed collars, off-centre coat closures, grosgrain ribbons, twisted mink cumberbunds and mink shoulder details, pinched ruching on dresses at natural or dropped waistlines, sequinned floral embroideries for evening looks
Footwear: Glittery peep-toe booties, ankle-strapped shoes with a folded fin
Accessories: Oversized pip-clasp purses, baseball caps, tortoiseshell or glitter resin-framed sunglasses
Wednesday, March 9, 2011
Live From... Paris Fashion Week, Day 8
Chanel
Over the past few seasons there have been icy glaciers and ornamental gardens complete with gushing fountains, as Karl Lagerfeld strives to put on ever more theatrical shows at Chanel. This time round it was a charred and smouldering forest, the models picking their way across it dressed in signature tweed layers, their wide-legged pants rolled up to avoid disturbing the swirling fog.
The look: Protective winter dressing
Silhouette: Sturdy and masculine
Key items: Lagerfeld’s leitmotif was for jackets faux-layered over other jackets – short, boxy Chanel styles over tailored blazers or a four-pocket wool bush jacket, a tweed bolero over a slim-fit crombie, or a short sequinned jacket over a tux. These were paired with either triple pleat-front wide-legged pants with ankle-swinging turn-ups, or super-skinny black jeans. Skirt suits comprised collarless jackets with dropped sleeveheads and asymmetrical closures, and short A-line skirts, while cocktail dress were short and fluted with puff sleeves. There were tweed capes including a couple of floor-sweeping maxi options, and shirts with high pie-crust frilled collars that tapped into the season’s Victoriana looks, while evening gowns and dresses were replaced with no fewer than 15 jumpsuits - in lace, quilted leather, bulky tweed or Chantilly lace over satin, many with oversized cloverleaf lapels, large patch pockets and asymmetrical biker-style zips
Colour: Charred black and a host of smoky greys, with hits of red and teal
Fabric & knit: Slubby tweeds, bouclé, dense wools, basket weaves, houndstooth, glitter knits and Lurex-shot tweeds, tinselly fil coupé, looped wools, shearling, shredded chiffon, black organza, Chantilly lace, crinkled and scratched black denim
Print & pattern: Heraldic flowers and shadowy leaf patterns
Details & trims: Looped wool, tufted and shredded tweed, diamond quilting, chiffon appliqués, laser-cut fabric leaves sprouting from necklines, high pie-crust frilled shirt collars, dropped sleeveheads, jewelled buttons, patch pockets with fold-down corners
Footwear: Lace-up bovver boots with chelsea gusset and slouchy contrast material cuffs, short biker boots, low-heeled satin courts (US: pumps), metallic shoes and boots with popper studs and spectator toes
Accessories: Multi-strand chain chokers in blackened silver metals, gold cuffs; fingerless gloves in either thick ribbed knits or fine lace, tweed corsages, quilted leather waspie belts; chain-handled bags
Alexander McQueen
After rumours emerged Kate Middleton may wear a McQueen wedding dress for her forthcoming nuptials, all eyes were on Sarah Burton’s latest collection, picking it over for clues as to what the royal wedding ensemble will hold. And she didn’t disappoint, basing her couture-like collection on “an ice queen and her court”, including several white gowns sure to get the royal seal of approval from any fashion-conscious princess.
The look: Royal couture
Silhouette: Hourglass-shaped bodies and fit-and-flare skirts
Key items: This was about as far from a commercial collection as you could get. There were no retail-ready key items as such - each piece a made-to-order work of haute couture. There were nipped-waist coats with fur skirts, skirt suits with body-con jackets and skirts with zipped splits and godets, zip-through dresses with cutaway halternecks and leather harnesses, or others with chiffon bishop sleeves. There were body-con sheaths with corset-laced details binding skirt splits and plunging necklines, and a fit-and-flare coat with reinforced shoulder plates and a dropped-waist flare, that shape following through to a high-necked and corseted fit-and-flare drop-waist dress, with a tutu-like skirt made up of bands of millefeuille shredded chiffon and diamond lattice pleating. But what will get everyone talking were the white wedding-worthy gowns, the details of which will be picked over by anyone speculating on Kate Middleton’s rumoured McQueen wedding dress. There was one with a leather halterneck harness and fluted skirt with a frothy band of marabou feather, another with a high neck and split bishop sleeves, the columnar dress made of frayed-edge chiffon strips, and two halterneck options with frothy dropped-waist skirts - surely the frontrunners for royal favour
Colour: Black, white, lilac and pale grey
Fabric & knit: Tweed, knitted fur, feathered fox, silver fox, marabou, kidassia goat hair, chiffon, satin, leather, waffle-like embossed textures
Details & trims: Signature peaked shoulders, moulded waists/hips, high necklines and cuffed sleeves; zips as seams or godets, string corset-lacing, cutaway shoulders, bishop sleeves, funnel necks, leather harnesses, sheer inserts, ruff-like diamond lattice pleating, regimented stripes of crystal studs, millefeuille layers of frayed chiffon strips, shaved diamonds of fur, basket-woven leather, embroidered heraldic breastplate motif, jewelled studs
Footwear: Ghillie-laced boots in over-the-knee or calf lengths, exaggerated-platform peep toes or strappy sandals decorated with white beads or jewelled tufts of chiffon
Accessories: Waist-cinching belts and triple-buckle girdles, leather harnesses; chokers, either sheepskin-lined or studded leather; short fingerless gloves or over-the-elbow fetish leather gloves
Valentino
Possibly one of the finest collections presented in Paris this week, designers Maria Grazia Chiuri and Pier Paolo Piccioli injected the girlish sexiness they have perfected for after-six into elegant yet youthful daywear full of short lengths, pretty lace and unashamed feminine charm.
The look: Sweet femininity
Silhouette: Short daywear lengths, softly waisted fit-and-flare
Key items: There was a new concentration on daywear, which included above-the-knee dresses with wool skirts and ribbed knit tops, cardigan jackets with ribbed sleeves, sheer blouses or crewnecked sweaters paired with delicate pleated skirts and a couple of great shirtwaisters - one a particular highlight in cream laser-cut leather with sheer sleeves. There were perfectly tailored trousers, while a couple of neat longline DB jackets, a slicked leather trench, banded fox-fur coats and a wrap coat with wide portrait collar comprised the sensible outerwear offer. The demure/sexy interplay that Chiuri and Piccioli have made their own at the house arrived in the form of flirty cocktail dresses, including one with a fine Chantilly lace halterneck bodice and dropped-waist pleated leather skirt, a couple of fit-and-flare dresses with lingerie-inspired straps and bra cups, and a leather bandeau traced with a lace grid inlay. For evening, lengths hit the floor, with delicately wafting maxis in printed silk chiffon
Colour: A palette of cosmetique nudes and blush pinks dominated, tempered with black, inky navy and chocolate brown, and a single hit of mallard green. For evening there were highlights of turquoise and washed chartreuse
Fabric & knit: Ribbed knits, cashmere wools, chiffon, dotted point d’esprit, several types of fine lace, short tiered feathers, banded fox, glossy calfskin
Print & pattern: Printed tweedy trompe l’oeil plaid, trompe l’oeil all-over feather print, speckled and dotted patterns
Details & trims: Leather edge trims, pyramid studs, sequinned zigzags, lace inserts forming grid patterns, placement lace florals, pieced and patchworked lace, signature rosettes in quilled fabric or new in feathers, covered buttons, self belts
Footwear: Tall boots in plain leather, snakeskin or lace overlay, elegant thick-strapped Mary Janes
Accessories: Small leather bags with long shoulder straps, studded fold-over clutches, skinny snakeskin tubular belts with metal clasp, feathered chokers
Over the past few seasons there have been icy glaciers and ornamental gardens complete with gushing fountains, as Karl Lagerfeld strives to put on ever more theatrical shows at Chanel. This time round it was a charred and smouldering forest, the models picking their way across it dressed in signature tweed layers, their wide-legged pants rolled up to avoid disturbing the swirling fog.
The look: Protective winter dressing
Silhouette: Sturdy and masculine
Key items: Lagerfeld’s leitmotif was for jackets faux-layered over other jackets – short, boxy Chanel styles over tailored blazers or a four-pocket wool bush jacket, a tweed bolero over a slim-fit crombie, or a short sequinned jacket over a tux. These were paired with either triple pleat-front wide-legged pants with ankle-swinging turn-ups, or super-skinny black jeans. Skirt suits comprised collarless jackets with dropped sleeveheads and asymmetrical closures, and short A-line skirts, while cocktail dress were short and fluted with puff sleeves. There were tweed capes including a couple of floor-sweeping maxi options, and shirts with high pie-crust frilled collars that tapped into the season’s Victoriana looks, while evening gowns and dresses were replaced with no fewer than 15 jumpsuits - in lace, quilted leather, bulky tweed or Chantilly lace over satin, many with oversized cloverleaf lapels, large patch pockets and asymmetrical biker-style zips
Colour: Charred black and a host of smoky greys, with hits of red and teal
Fabric & knit: Slubby tweeds, bouclé, dense wools, basket weaves, houndstooth, glitter knits and Lurex-shot tweeds, tinselly fil coupé, looped wools, shearling, shredded chiffon, black organza, Chantilly lace, crinkled and scratched black denim
Print & pattern: Heraldic flowers and shadowy leaf patterns
Details & trims: Looped wool, tufted and shredded tweed, diamond quilting, chiffon appliqués, laser-cut fabric leaves sprouting from necklines, high pie-crust frilled shirt collars, dropped sleeveheads, jewelled buttons, patch pockets with fold-down corners
Footwear: Lace-up bovver boots with chelsea gusset and slouchy contrast material cuffs, short biker boots, low-heeled satin courts (US: pumps), metallic shoes and boots with popper studs and spectator toes
Accessories: Multi-strand chain chokers in blackened silver metals, gold cuffs; fingerless gloves in either thick ribbed knits or fine lace, tweed corsages, quilted leather waspie belts; chain-handled bags
Alexander McQueen
After rumours emerged Kate Middleton may wear a McQueen wedding dress for her forthcoming nuptials, all eyes were on Sarah Burton’s latest collection, picking it over for clues as to what the royal wedding ensemble will hold. And she didn’t disappoint, basing her couture-like collection on “an ice queen and her court”, including several white gowns sure to get the royal seal of approval from any fashion-conscious princess.
The look: Royal couture
Silhouette: Hourglass-shaped bodies and fit-and-flare skirts
Key items: This was about as far from a commercial collection as you could get. There were no retail-ready key items as such - each piece a made-to-order work of haute couture. There were nipped-waist coats with fur skirts, skirt suits with body-con jackets and skirts with zipped splits and godets, zip-through dresses with cutaway halternecks and leather harnesses, or others with chiffon bishop sleeves. There were body-con sheaths with corset-laced details binding skirt splits and plunging necklines, and a fit-and-flare coat with reinforced shoulder plates and a dropped-waist flare, that shape following through to a high-necked and corseted fit-and-flare drop-waist dress, with a tutu-like skirt made up of bands of millefeuille shredded chiffon and diamond lattice pleating. But what will get everyone talking were the white wedding-worthy gowns, the details of which will be picked over by anyone speculating on Kate Middleton’s rumoured McQueen wedding dress. There was one with a leather halterneck harness and fluted skirt with a frothy band of marabou feather, another with a high neck and split bishop sleeves, the columnar dress made of frayed-edge chiffon strips, and two halterneck options with frothy dropped-waist skirts - surely the frontrunners for royal favour
Colour: Black, white, lilac and pale grey
Fabric & knit: Tweed, knitted fur, feathered fox, silver fox, marabou, kidassia goat hair, chiffon, satin, leather, waffle-like embossed textures
Details & trims: Signature peaked shoulders, moulded waists/hips, high necklines and cuffed sleeves; zips as seams or godets, string corset-lacing, cutaway shoulders, bishop sleeves, funnel necks, leather harnesses, sheer inserts, ruff-like diamond lattice pleating, regimented stripes of crystal studs, millefeuille layers of frayed chiffon strips, shaved diamonds of fur, basket-woven leather, embroidered heraldic breastplate motif, jewelled studs
Footwear: Ghillie-laced boots in over-the-knee or calf lengths, exaggerated-platform peep toes or strappy sandals decorated with white beads or jewelled tufts of chiffon
Accessories: Waist-cinching belts and triple-buckle girdles, leather harnesses; chokers, either sheepskin-lined or studded leather; short fingerless gloves or over-the-elbow fetish leather gloves
Valentino
Possibly one of the finest collections presented in Paris this week, designers Maria Grazia Chiuri and Pier Paolo Piccioli injected the girlish sexiness they have perfected for after-six into elegant yet youthful daywear full of short lengths, pretty lace and unashamed feminine charm.
The look: Sweet femininity
Silhouette: Short daywear lengths, softly waisted fit-and-flare
Key items: There was a new concentration on daywear, which included above-the-knee dresses with wool skirts and ribbed knit tops, cardigan jackets with ribbed sleeves, sheer blouses or crewnecked sweaters paired with delicate pleated skirts and a couple of great shirtwaisters - one a particular highlight in cream laser-cut leather with sheer sleeves. There were perfectly tailored trousers, while a couple of neat longline DB jackets, a slicked leather trench, banded fox-fur coats and a wrap coat with wide portrait collar comprised the sensible outerwear offer. The demure/sexy interplay that Chiuri and Piccioli have made their own at the house arrived in the form of flirty cocktail dresses, including one with a fine Chantilly lace halterneck bodice and dropped-waist pleated leather skirt, a couple of fit-and-flare dresses with lingerie-inspired straps and bra cups, and a leather bandeau traced with a lace grid inlay. For evening, lengths hit the floor, with delicately wafting maxis in printed silk chiffon
Colour: A palette of cosmetique nudes and blush pinks dominated, tempered with black, inky navy and chocolate brown, and a single hit of mallard green. For evening there were highlights of turquoise and washed chartreuse
Fabric & knit: Ribbed knits, cashmere wools, chiffon, dotted point d’esprit, several types of fine lace, short tiered feathers, banded fox, glossy calfskin
Print & pattern: Printed tweedy trompe l’oeil plaid, trompe l’oeil all-over feather print, speckled and dotted patterns
Details & trims: Leather edge trims, pyramid studs, sequinned zigzags, lace inserts forming grid patterns, placement lace florals, pieced and patchworked lace, signature rosettes in quilled fabric or new in feathers, covered buttons, self belts
Footwear: Tall boots in plain leather, snakeskin or lace overlay, elegant thick-strapped Mary Janes
Accessories: Small leather bags with long shoulder straps, studded fold-over clutches, skinny snakeskin tubular belts with metal clasp, feathered chokers
Tisci in at Dior with Roitfeld? Elbaz still mentioned, MacGibbon axe rumours continue
Rumours have reached fever pitch around Riccardo Tisci with confirmation that he will take over from John Galliano at Dior expected imminently. LVMH has refused to confirm his appointment so far but, significantly, has not denied that he will move from his current role at Givenchy.
An immediate announcement of Galliano's successor is believed to have been prevented by French employment law which demands a strict process when an employee is fired.
Italian-born Tisci, who trained at London's Central Saint Martins, has stamped his style on Givenchy in recent years and has become a red carpet choice for many A-list celebrities. Tisci, 35, has only said that he is happy in his current post and has not commented on stories that ex-Vogue Paris editor Carine Roitfeld will be his stylist at the label.
Alber Elbaz, who has proved a major success at Lanvin in the years since he lost his YSL post, has also been tipped for the post, and his name is being more actively discussed today after some Lanvin staff were spotted crying yesterday. However, WGSN believes Elbaz is a perfect fit for Lanvin and still has much to do to expand that label. Meanwhile, rumours continue to swirl around Hannah MacGibbon with speculation her Chloe contract will not be renewed. Critics appear divided over the strength of her autumn/winter 2011/12 collection.
An immediate announcement of Galliano's successor is believed to have been prevented by French employment law which demands a strict process when an employee is fired.
Italian-born Tisci, who trained at London's Central Saint Martins, has stamped his style on Givenchy in recent years and has become a red carpet choice for many A-list celebrities. Tisci, 35, has only said that he is happy in his current post and has not commented on stories that ex-Vogue Paris editor Carine Roitfeld will be his stylist at the label.
Alber Elbaz, who has proved a major success at Lanvin in the years since he lost his YSL post, has also been tipped for the post, and his name is being more actively discussed today after some Lanvin staff were spotted crying yesterday. However, WGSN believes Elbaz is a perfect fit for Lanvin and still has much to do to expand that label. Meanwhile, rumours continue to swirl around Hannah MacGibbon with speculation her Chloe contract will not be renewed. Critics appear divided over the strength of her autumn/winter 2011/12 collection.
Tuesday, March 8, 2011
Live From... Paris Fashion Week, Day 7
Stella McCartney
It should have been Stella McCartney’s moment, her signature masculine/feminine looks perfectly chiming with the trends seen elsewhere this season, and while she sent out a mix of mannish tailoring and demure ladylike dresses, their overscaled proportions made them somehow a little wide of the mark that defines those must-have-items of the season.
The look: Masculine/feminine
Silhouette: Overscaled and voluminous, contrasted with body-con for evening
Key items: The oversized blazer was the most obvious item in the collection, coming with Incredible Hulk shoulderlines, balancing slimmer bottomweights. That same sense of volume coloured an elongated blouson jacket worked in blister-quilted gold, while a more refined look came into play for the rounded tuxedo-inspired coat in milky-white cashmere. Dresses and tops veered between deep plunging necklines to round-necked demure, covered-up looks, worked in plissé effects or sturdy knit structures with exaggerated sleeve detailing. High-waisted pants and sensible knee-length pencil skirts were the perfect anchor points for the collection’s simple shell tops, while for those after-six moments, a series of appliquéd spotted sheers in black or white, with trompe l’oeil bustier dresses sporting revealing sheer panels and flirty peplum bodices, or a standout midnight-blue bonded velvet sheath with a cut-in halter neckline
Colour: A very concise palette of black, with shades of white from optic through to milk and ivory, deep sapphire blue, gold
Fabrics & knits: Plissé organza, satin and crepe de chine, bonded velvet, cashmere coatweights, wet-look finishes, metallic blister quilting, sheer tulle
Print & pattern: A photoreal print in black and white, or black and gold
Details & trims: Fabric-blocking
Footwear: Patent loafers, high-vamp heeled pumps
Accessories: Round clutch bags to mirror the collection’s spot theme, boxy clutch bags
Emanuel Ungaro
It seems aeons ago that the beleaguered house of Ungaro had a signature handwriting, having undergone many transformations since its eponymous creator bowed out of the fashion spotlight. It remains to be seen whether its latest creative director, Giles Deacon, will be the man to bring the house back as a force on the Paris schedule. For his second RTW showing for the house, he opted for a sexed-up vixen theme that debunked fashion’s new mood for a more demure look, with his come-thither sheers and brash silhouettes, which despite having the hand of the best ateliers in the business - Lesage embroideries and Solstiss lace - had an uncomfortable sense of bling, rather than the discreet stealth wealth that is the mood of the moment.
The look: Sex-vixen party girl
Silhouette: Strictly body-con
Key items: It was second-skin all the way for everything from micro-minidresses to dare-to-bare all-in-ones, all worked in degrees of transparencies, from all-over embroidered sheers to lace and satin panelled sheath dresses. Whether this party girl ever sees the light of day is debatable, but if she did she would wear Deacon’s skinny leather jeans with their dimensional fringed effects and exposed-zip fly, maybe teamed with a decorative chunky knit or a bling-bling crystal-embellished sweatshirt. Alternatively, she may throw a bonded leather boxy jacket over her heavily beaded miniskirt and sheer top. And for those seriously hot dates, printed satin sculpted dresses, a peekaboo velvet sheath with feather-trimmed back and burn-out sleeves, coloured fox chubbies, and a zipped-through lace all-in-one that would be more at home in the boudoir than the red carpet.
Colour: Black, jade green, turquoise, blush pink
Fabric & knit: Velvet, bonded leather, fringed leather, satin, chiffon, marabou, dyed fox, lace
Print & pattern: A wolf and eagle motif worked in embellished crystals, a photoreal feather print, a swirling smoky effect all-over
Details & trims: Exposed zips, crystal beading, gold embroidery
Footwear: Satin mesh heeled T-bars
Accessories: Metal collars, fingerless beaded gloves
Yves Saint Laurent
After the day’s bling excesses and the plays on exaggerated proportions seen elsewhere, it was down to Stefano Pilati to lead the way and show why Paris remains the crème de la crème on the RTW schedule, with his impeccably worked collection full of oh-so-subtle 60s and 70s archival references - a timely reminder of the history of this house, with the opening of the Yves Saint Laurent retrospective at the Petit Palais on Friday March 11.
The look: Subtle 60s/70s
Silhouette: Neatly tailored, glamorously sophisticated, and fluid for evening
Key items: Neat tailored coats and suits had a gamine boyish appeal that chimes with the season’s masculine/feminine mood, with knee-length coats and low-breakpoint DBs teamed with demure pleated skirts. Caped coats and boxy fabric-blocked jackets, knee-length skirts and cropped cigarette pants, high-necked satin blouses and colour-blocked black and white tailoring continued the theme, along with a nod to the season’s hottest dress shape - the drop-waist shift, here with a patent bodice and cobalt blue-banded Prince of Wales check skirt. Evening was a purist affair, with a perfectly tailored white pantsuit offering a masculine slant on PM dressing, offset with gently draped bustier dresses falling from a sheer halter neckline, flowing palazzo pants and sheer halter tops, and a show-stopping finale of fluttering marabou and shimmering silk crepe that was the pure DNA of the house
Colour: A focused palette of black, white and grey, with piercing accents of ultraviolet and cobalt blue
Fabric & knit: The collection was an affirmation of the importance of checks for next season, as Pilati deconstructed and reworked classic Prince of Wales plaids and dogtooth checks into myriad variations on a theme, offset with wet-look, crystal-studded patent, cashmere, chiffon, silk crepe, marabou, mink and fox
Print & pattern: Prince of Wales check worked as a print
Details & trims: Fur trims, colour-blocking, chain trims, beaded chain links
Footwear: Over-knee boots, tasselled heeled loafers, heeled shooties, vampy ankle-strap platforms for evening
Accessories: Triple chain belts, chain necklaces, white belts, clutch bags, short gloves in black or white
Giambattista Valli
Fifties and 60s couture are usual hallmarks for Giambattista Valli, but for winter the designer turned a little more graphic, with boxy structures and short, youthful lengths. His monochrome palette, injected with neon brights, accentuated the streamlined shapes, while prints inspired by Flemish still-life paintings added just the right amount of contrast to keep it all fresh and new.
The look: Graphic eleganceSilhouette: Short and boxy
Key items: Short thigh-high shift dresses were littered throughout the collection; for day they arrived either simple and sleeveless, or with clipped cap sleeves, while for dressier styling there was a printed option with a swagged one-shoulder drape, or a couple with upward-facing fan-like ruffles arching at the waist. Luxe coats were another key focus and largely they were collarless with fly-front closures, some with two-tone panels, while an hourglass-shaped broadtail coat with goat-trimmed shoulders made a statement highlight. Cropped jackets, capes and shell tops in a shorter length than seen elsewhere this season were layered atop either A-line skirts, tulip skirts or slim cigarette pants, the latter with a high banded waist. Other pant shapes included tight treggings or long straight-cut tailored trousers, both flat-front, while for eveningwear – always a core focus for Valli – we saw ovoid maxiskirts paired with shell tops or tanks for that Jil Sander-style demi-couture look, or red-carpet-worthy gowns with huge dotted tulle skirts
Colour: Monochrome black, white and grey, with zingy splashes of sulphur yellow, hot pink and bright vermilion red
Fabric & knit: Compact tweeds, wool crepe, silk twill, semi-sheer knit, satin, silver jacquard, striped jacquard, cloqué, chiffon, dotted tulle; glossy broadtail, dyed mink, white goat hair
Print & pattern: Painterly Flemish-style still-life placements – a vase of tulips in yellow on black in grade shading, a bowl of fruit in grey on black or pink/red on white
Details & trims: Raised shoulders (sleeveless) revealing jewelled shoulder pads, puffed shoulder panels and skirt peplum, upward-facing fan-like ruffles, Peter Pan collars, banded waists, high jewel necklines, panelled or banded hems, raglan sleeves, super-sheer side panels creating illusionary hourglass shaping, one-shouldered drape; black-on-black cluster beading, random splotch-like lace beaded appliqués, cluster-beaded sleeve cuffs
Footwear: Patent loafers with a grosgrain over-strap and low mirrored heel, high-heeled calf-length boots in black patent leather or black satin decorated with clusters of black beads, silver leather courts (US: pumps) with black satin heel
Accessories: Articulated bracelets and short necklaces with faceted mirrored jewels
Vanessa Bruno
You can count Vanessa Bruno’s Parisian counterparts as Isabel Marant and Barbara Bui - three labels that put wearability and high fashion’s dirtiest word, commerciality, before flash-in-the-pan trends and head-scratching concepts. Here, Bruno riffed on her favoured peasanty looks, twisting in a touch of the new soft grunge trend we have seen elsewhere this season, with sloppy knits and oversized coats thrown over wafting skirts and dresses.
The look: Soft grunge
Silhouette: Casual, thrown-together layers
Key items: It was all about layering here, with core pieces including loose-fit shirts and peasant blouses, draped wrap dresses and split skirts with uneven hems, chunky cardigans or sloppy jumpers, and oversized outerwear including large blanket coats, pieced-suede duster jackets, and sweeping maxi coats. Elsewhere there were high-waisted wide-leg trousers in cotton velvet, paired with snug-fitting tailored jackets with an asymmetrical closure fastened with a single tiny metal clasp, and a passage of breezy draped dresses in billowing midi lengths.
Colour: Layered neutrals - white, taupe and cream; khaki, cognac, dark slate grey with dusty pink and emerald green
Fabric & knit: Cotton including white poplin and a grey plaid, boiled wool, metallic micro-patterned jacquard, silk, warm suede, cotton velvet, fluffy open-mesh knits, chunky rustic knits, looped wool stitches, faux fur
Print & pattern: Trompe l’oeil mesh print, hand-rendered sketch print with delicate tints of washed colour
Details & trims: Blanket-stitched edges, knitted sleeves and crocheted cuffs, satin edge trims, crafty wool or fur appliqué diamond patches, embroidered cutwork borders, fur collars, paper-bag waists
Footwear: Calf-length suede boots and platform leather boots with slouchy suede leg well
Accessories: Ribbed slouch socks, casual bags in tweed or woven leather
Chloé
After making simplicity her calling card at Chloé, Hannah MacGibbon broke out of that self-imposed aesthetic yesterday with a collection that maxed out on snakeskin and ventured into new colour territories. It was a bold move, considering rumours of a contract termination are circling, and one that not entirely paid off. The colour was clunky, the snakeskin overused and her successful 70s signatures lost in all the madness.
The look: Casual 70s stylingSilhouette: Soft and loose
Key items: The collection was full of MacGibbon-for-Chloé staples, including long-sleeved midi-length 70s-style dresses, ruffle-necked shirts, capes and ponchos, and 70s pant shapes - this season pleat-fronted and super wide. There were also a couple of pairs of questionable dungarees and a tracksuit in suede and leather. More successful were the colour-blocked sweaters, neat silk shirts, denim gauchos and classic trench coats; also notable were the vertically panelled pants, although perhaps only for their similarity to former Chloé girl Phoebe Philo’s two-season staples at Céline
Colour: Signature neutrals - putty grey, beige and mink, with rich tan and mahogany browns. New colour usage - Crayola primaries of red, yellow and blue, with a shot of jade green
Fabric & knit: Snakeskin, supple leather, warm suede, super-fine chiffon, satin, felted wool, ribbed knits in chunky and medium gauges
Print & pattern: Snakeskin on chiffon and satin, paisley on yellow ground
Details & trims: Colour-blocking, spliced snakeskin striped panels, leather whip-stitching, shirring, ruffled necks and collars, long leather string fringing
Footwear: Platform wedge mules, chunky courts (US: pumps) in snakeskin, chunky block-heeled sandals with nail-head studs, patent T-bar shoes with ribbon bow
Accessories: Tan leather bucket bags, some with colour-blocked pockets, whip-stitched suede satchels; narrow snakeskin-print scarves, leather scarves
It should have been Stella McCartney’s moment, her signature masculine/feminine looks perfectly chiming with the trends seen elsewhere this season, and while she sent out a mix of mannish tailoring and demure ladylike dresses, their overscaled proportions made them somehow a little wide of the mark that defines those must-have-items of the season.
The look: Masculine/feminine
Silhouette: Overscaled and voluminous, contrasted with body-con for evening
Key items: The oversized blazer was the most obvious item in the collection, coming with Incredible Hulk shoulderlines, balancing slimmer bottomweights. That same sense of volume coloured an elongated blouson jacket worked in blister-quilted gold, while a more refined look came into play for the rounded tuxedo-inspired coat in milky-white cashmere. Dresses and tops veered between deep plunging necklines to round-necked demure, covered-up looks, worked in plissé effects or sturdy knit structures with exaggerated sleeve detailing. High-waisted pants and sensible knee-length pencil skirts were the perfect anchor points for the collection’s simple shell tops, while for those after-six moments, a series of appliquéd spotted sheers in black or white, with trompe l’oeil bustier dresses sporting revealing sheer panels and flirty peplum bodices, or a standout midnight-blue bonded velvet sheath with a cut-in halter neckline
Colour: A very concise palette of black, with shades of white from optic through to milk and ivory, deep sapphire blue, gold
Fabrics & knits: Plissé organza, satin and crepe de chine, bonded velvet, cashmere coatweights, wet-look finishes, metallic blister quilting, sheer tulle
Print & pattern: A photoreal print in black and white, or black and gold
Details & trims: Fabric-blocking
Footwear: Patent loafers, high-vamp heeled pumps
Accessories: Round clutch bags to mirror the collection’s spot theme, boxy clutch bags
Emanuel Ungaro
It seems aeons ago that the beleaguered house of Ungaro had a signature handwriting, having undergone many transformations since its eponymous creator bowed out of the fashion spotlight. It remains to be seen whether its latest creative director, Giles Deacon, will be the man to bring the house back as a force on the Paris schedule. For his second RTW showing for the house, he opted for a sexed-up vixen theme that debunked fashion’s new mood for a more demure look, with his come-thither sheers and brash silhouettes, which despite having the hand of the best ateliers in the business - Lesage embroideries and Solstiss lace - had an uncomfortable sense of bling, rather than the discreet stealth wealth that is the mood of the moment.
The look: Sex-vixen party girl
Silhouette: Strictly body-con
Key items: It was second-skin all the way for everything from micro-minidresses to dare-to-bare all-in-ones, all worked in degrees of transparencies, from all-over embroidered sheers to lace and satin panelled sheath dresses. Whether this party girl ever sees the light of day is debatable, but if she did she would wear Deacon’s skinny leather jeans with their dimensional fringed effects and exposed-zip fly, maybe teamed with a decorative chunky knit or a bling-bling crystal-embellished sweatshirt. Alternatively, she may throw a bonded leather boxy jacket over her heavily beaded miniskirt and sheer top. And for those seriously hot dates, printed satin sculpted dresses, a peekaboo velvet sheath with feather-trimmed back and burn-out sleeves, coloured fox chubbies, and a zipped-through lace all-in-one that would be more at home in the boudoir than the red carpet.
Colour: Black, jade green, turquoise, blush pink
Fabric & knit: Velvet, bonded leather, fringed leather, satin, chiffon, marabou, dyed fox, lace
Print & pattern: A wolf and eagle motif worked in embellished crystals, a photoreal feather print, a swirling smoky effect all-over
Details & trims: Exposed zips, crystal beading, gold embroidery
Footwear: Satin mesh heeled T-bars
Accessories: Metal collars, fingerless beaded gloves
Yves Saint Laurent
After the day’s bling excesses and the plays on exaggerated proportions seen elsewhere, it was down to Stefano Pilati to lead the way and show why Paris remains the crème de la crème on the RTW schedule, with his impeccably worked collection full of oh-so-subtle 60s and 70s archival references - a timely reminder of the history of this house, with the opening of the Yves Saint Laurent retrospective at the Petit Palais on Friday March 11.
The look: Subtle 60s/70s
Silhouette: Neatly tailored, glamorously sophisticated, and fluid for evening
Key items: Neat tailored coats and suits had a gamine boyish appeal that chimes with the season’s masculine/feminine mood, with knee-length coats and low-breakpoint DBs teamed with demure pleated skirts. Caped coats and boxy fabric-blocked jackets, knee-length skirts and cropped cigarette pants, high-necked satin blouses and colour-blocked black and white tailoring continued the theme, along with a nod to the season’s hottest dress shape - the drop-waist shift, here with a patent bodice and cobalt blue-banded Prince of Wales check skirt. Evening was a purist affair, with a perfectly tailored white pantsuit offering a masculine slant on PM dressing, offset with gently draped bustier dresses falling from a sheer halter neckline, flowing palazzo pants and sheer halter tops, and a show-stopping finale of fluttering marabou and shimmering silk crepe that was the pure DNA of the house
Colour: A focused palette of black, white and grey, with piercing accents of ultraviolet and cobalt blue
Fabric & knit: The collection was an affirmation of the importance of checks for next season, as Pilati deconstructed and reworked classic Prince of Wales plaids and dogtooth checks into myriad variations on a theme, offset with wet-look, crystal-studded patent, cashmere, chiffon, silk crepe, marabou, mink and fox
Print & pattern: Prince of Wales check worked as a print
Details & trims: Fur trims, colour-blocking, chain trims, beaded chain links
Footwear: Over-knee boots, tasselled heeled loafers, heeled shooties, vampy ankle-strap platforms for evening
Accessories: Triple chain belts, chain necklaces, white belts, clutch bags, short gloves in black or white
Giambattista Valli
Fifties and 60s couture are usual hallmarks for Giambattista Valli, but for winter the designer turned a little more graphic, with boxy structures and short, youthful lengths. His monochrome palette, injected with neon brights, accentuated the streamlined shapes, while prints inspired by Flemish still-life paintings added just the right amount of contrast to keep it all fresh and new.
The look: Graphic eleganceSilhouette: Short and boxy
Key items: Short thigh-high shift dresses were littered throughout the collection; for day they arrived either simple and sleeveless, or with clipped cap sleeves, while for dressier styling there was a printed option with a swagged one-shoulder drape, or a couple with upward-facing fan-like ruffles arching at the waist. Luxe coats were another key focus and largely they were collarless with fly-front closures, some with two-tone panels, while an hourglass-shaped broadtail coat with goat-trimmed shoulders made a statement highlight. Cropped jackets, capes and shell tops in a shorter length than seen elsewhere this season were layered atop either A-line skirts, tulip skirts or slim cigarette pants, the latter with a high banded waist. Other pant shapes included tight treggings or long straight-cut tailored trousers, both flat-front, while for eveningwear – always a core focus for Valli – we saw ovoid maxiskirts paired with shell tops or tanks for that Jil Sander-style demi-couture look, or red-carpet-worthy gowns with huge dotted tulle skirts
Colour: Monochrome black, white and grey, with zingy splashes of sulphur yellow, hot pink and bright vermilion red
Fabric & knit: Compact tweeds, wool crepe, silk twill, semi-sheer knit, satin, silver jacquard, striped jacquard, cloqué, chiffon, dotted tulle; glossy broadtail, dyed mink, white goat hair
Print & pattern: Painterly Flemish-style still-life placements – a vase of tulips in yellow on black in grade shading, a bowl of fruit in grey on black or pink/red on white
Details & trims: Raised shoulders (sleeveless) revealing jewelled shoulder pads, puffed shoulder panels and skirt peplum, upward-facing fan-like ruffles, Peter Pan collars, banded waists, high jewel necklines, panelled or banded hems, raglan sleeves, super-sheer side panels creating illusionary hourglass shaping, one-shouldered drape; black-on-black cluster beading, random splotch-like lace beaded appliqués, cluster-beaded sleeve cuffs
Footwear: Patent loafers with a grosgrain over-strap and low mirrored heel, high-heeled calf-length boots in black patent leather or black satin decorated with clusters of black beads, silver leather courts (US: pumps) with black satin heel
Accessories: Articulated bracelets and short necklaces with faceted mirrored jewels
Vanessa Bruno
The look: Soft grunge
Silhouette: Casual, thrown-together layers
Key items: It was all about layering here, with core pieces including loose-fit shirts and peasant blouses, draped wrap dresses and split skirts with uneven hems, chunky cardigans or sloppy jumpers, and oversized outerwear including large blanket coats, pieced-suede duster jackets, and sweeping maxi coats. Elsewhere there were high-waisted wide-leg trousers in cotton velvet, paired with snug-fitting tailored jackets with an asymmetrical closure fastened with a single tiny metal clasp, and a passage of breezy draped dresses in billowing midi lengths.
Colour: Layered neutrals - white, taupe and cream; khaki, cognac, dark slate grey with dusty pink and emerald green
Fabric & knit: Cotton including white poplin and a grey plaid, boiled wool, metallic micro-patterned jacquard, silk, warm suede, cotton velvet, fluffy open-mesh knits, chunky rustic knits, looped wool stitches, faux fur
Print & pattern: Trompe l’oeil mesh print, hand-rendered sketch print with delicate tints of washed colour
Details & trims: Blanket-stitched edges, knitted sleeves and crocheted cuffs, satin edge trims, crafty wool or fur appliqué diamond patches, embroidered cutwork borders, fur collars, paper-bag waists
Footwear: Calf-length suede boots and platform leather boots with slouchy suede leg well
Accessories: Ribbed slouch socks, casual bags in tweed or woven leather
Chloé
After making simplicity her calling card at Chloé, Hannah MacGibbon broke out of that self-imposed aesthetic yesterday with a collection that maxed out on snakeskin and ventured into new colour territories. It was a bold move, considering rumours of a contract termination are circling, and one that not entirely paid off. The colour was clunky, the snakeskin overused and her successful 70s signatures lost in all the madness.
The look: Casual 70s stylingSilhouette: Soft and loose
Key items: The collection was full of MacGibbon-for-Chloé staples, including long-sleeved midi-length 70s-style dresses, ruffle-necked shirts, capes and ponchos, and 70s pant shapes - this season pleat-fronted and super wide. There were also a couple of pairs of questionable dungarees and a tracksuit in suede and leather. More successful were the colour-blocked sweaters, neat silk shirts, denim gauchos and classic trench coats; also notable were the vertically panelled pants, although perhaps only for their similarity to former Chloé girl Phoebe Philo’s two-season staples at Céline
Colour: Signature neutrals - putty grey, beige and mink, with rich tan and mahogany browns. New colour usage - Crayola primaries of red, yellow and blue, with a shot of jade green
Fabric & knit: Snakeskin, supple leather, warm suede, super-fine chiffon, satin, felted wool, ribbed knits in chunky and medium gauges
Print & pattern: Snakeskin on chiffon and satin, paisley on yellow ground
Details & trims: Colour-blocking, spliced snakeskin striped panels, leather whip-stitching, shirring, ruffled necks and collars, long leather string fringing
Footwear: Platform wedge mules, chunky courts (US: pumps) in snakeskin, chunky block-heeled sandals with nail-head studs, patent T-bar shoes with ribbon bow
Accessories: Tan leather bucket bags, some with colour-blocked pockets, whip-stitched suede satchels; narrow snakeskin-print scarves, leather scarves
Monday, March 7, 2011
Live From... Paris Fashion Week, Day 6
Céline
Clearly still the hot ticket, Phoebe Philo’s cult-like reign at Céline garnered another full house in Paris yesterday. Applying her streamlined modern minimalism to inspirations taken from the interiors of luxury cars - think cream leathers and walnut-grain dash - the look was cool and sleek.
The look: Streamlined luxury
Silhouette: Tailored with a longline flare
Key items: With such a minimal aesthetic, the biggest statements came through outerwear - tailored chesterfield coats hitting a midi length, a couple of wide-cut collarless options, simple wrap coats with concealed fastenings, and a patched mink option with a single rever. Flat-front trousers were slim and tailored, featuring inset leather waistbands or side panels, and worn with white poloneck sweaters, while skirts and dresses were made up of strips of leather and sheers. Elsewhere there were on-trend T-shirt-shaped shell tops, neat shirts with narrow collars, long-sleeved sheaths with leather panelling, and bandeau tunics layered over straight-cut pants for evening
Colours: Walnut brown, grenadine red, rich tan, creamy beige, black, white and a single shot of the pastel pink from the pre-fall collection; a couple of retro colour combinations - carrot, sunshine, brown and beige or claret, sky, navy and grey
Fabric & knit: Felted wool, compact tweed, bonded wools with fur or tweed, fur-like brushed wool, dyed and patched mink, pummelled-finish leather
Print & pattern: Walnut woodgrain inspired by luxury car interiors
Details & trims: Raw edges, leather sleeve cuffs, zipped trouser ankles, cinch straps, leather panels and inserts, concealed closures
Footwear: Pointed loafers with exaggerated tongue
Accessories: Gladstone bags and large flat clutches
Clearly still the hot ticket, Phoebe Philo’s cult-like reign at Céline garnered another full house in Paris yesterday. Applying her streamlined modern minimalism to inspirations taken from the interiors of luxury cars - think cream leathers and walnut-grain dash - the look was cool and sleek.
The look: Streamlined luxury
Silhouette: Tailored with a longline flare
Key items: With such a minimal aesthetic, the biggest statements came through outerwear - tailored chesterfield coats hitting a midi length, a couple of wide-cut collarless options, simple wrap coats with concealed fastenings, and a patched mink option with a single rever. Flat-front trousers were slim and tailored, featuring inset leather waistbands or side panels, and worn with white poloneck sweaters, while skirts and dresses were made up of strips of leather and sheers. Elsewhere there were on-trend T-shirt-shaped shell tops, neat shirts with narrow collars, long-sleeved sheaths with leather panelling, and bandeau tunics layered over straight-cut pants for evening
Colours: Walnut brown, grenadine red, rich tan, creamy beige, black, white and a single shot of the pastel pink from the pre-fall collection; a couple of retro colour combinations - carrot, sunshine, brown and beige or claret, sky, navy and grey
Fabric & knit: Felted wool, compact tweed, bonded wools with fur or tweed, fur-like brushed wool, dyed and patched mink, pummelled-finish leather
Print & pattern: Walnut woodgrain inspired by luxury car interiors
Details & trims: Raw edges, leather sleeve cuffs, zipped trouser ankles, cinch straps, leather panels and inserts, concealed closures
Footwear: Pointed loafers with exaggerated tongue
Accessories: Gladstone bags and large flat clutches
Live From... Paris Fashion Week, Day 6
Kenzo
The light-up set in carnival colours, Mexican soundtrack and the laser-cut skull invite may have hinted at a Day of the Dead theme, but when the collection arrived in a palette of muted, almost grungy earth tones, it made for a puzzling connection. Adding to the confusion, Kenzo designer Antonio Marras then referenced three women as muses - an American, an Italian and, thankfully, a Mexican. And yet the thread that bound all this and the collection itself together remained a mystery. “I started with three different women - Tina Modotti, Georgia O’Keeffe and Frida Kahlo - and tried to tell their intimate life by using no bright colours and a special print with flowers and stripes, cut with a Chantilly lace,” said Marras. “I chose lace because it is closest to the intimacies of a woman.”
The look: Muted Mexican romance
Silhouette: Floaty with elongated layers
Key items: Floaty printed maxidresses - some sleeveless, others with peasant sleeves - were layered beneath midi-length sweater dresses, patchworked cardigan coats, longline gilets and masculine tailored jackets. Outerwear was heavy duty, contrasting with the delicate dresses - sleeveless parkas, horn-toggled duffels and embroidered duster coats, the latter layered over a knitted twinset comprising midi-length skirt and turtleneck sweater. Elsewhere there were shrug-on cardis with waterfall closures, midi-length kilts, wide mannish slacks and chiffon tunic-length shirts
Colours: A dark, earthy palette of moss and pine greens with touches of yellow ochre; faux nude and burnt browns with grenadine; dusty rose and burgundy with black
Fabric & knit: Printed chiffons and silk, spotted Swiss voile, cashmere, striped or plaid wools, Chantilly lace, floral brocade, torsade, jacquard, sheepskin, kidassia, rabbit, flecked wools and hand knits
Print & pattern: Chintzy country florals in muted tones, large painterly blooms, diffused checked effects, paisley leaves, bi-colour stripes; knitted and woven patterns included Argyle diamonds, a creeping floral with bird, zigzag stripes, masculine stripes, jacquards with two patterns/colourways that bleed into one another
Details & trims: Lace frills and inserts, exposed bras at the back of dresses, frilled cape sleeves, beading and embroideries over masculine fabrics, patchworked knits, waterfall closures
Footwear: Cuban-heeled chelsea boots or ankle boots, with studded criss-cross straps or fold-down tongues
Accessories: Weekend bag in fur, studded handbags, floral printed small formal handbags
The light-up set in carnival colours, Mexican soundtrack and the laser-cut skull invite may have hinted at a Day of the Dead theme, but when the collection arrived in a palette of muted, almost grungy earth tones, it made for a puzzling connection. Adding to the confusion, Kenzo designer Antonio Marras then referenced three women as muses - an American, an Italian and, thankfully, a Mexican. And yet the thread that bound all this and the collection itself together remained a mystery. “I started with three different women - Tina Modotti, Georgia O’Keeffe and Frida Kahlo - and tried to tell their intimate life by using no bright colours and a special print with flowers and stripes, cut with a Chantilly lace,” said Marras. “I chose lace because it is closest to the intimacies of a woman.”
The look: Muted Mexican romance
Silhouette: Floaty with elongated layers
Key items: Floaty printed maxidresses - some sleeveless, others with peasant sleeves - were layered beneath midi-length sweater dresses, patchworked cardigan coats, longline gilets and masculine tailored jackets. Outerwear was heavy duty, contrasting with the delicate dresses - sleeveless parkas, horn-toggled duffels and embroidered duster coats, the latter layered over a knitted twinset comprising midi-length skirt and turtleneck sweater. Elsewhere there were shrug-on cardis with waterfall closures, midi-length kilts, wide mannish slacks and chiffon tunic-length shirts
Colours: A dark, earthy palette of moss and pine greens with touches of yellow ochre; faux nude and burnt browns with grenadine; dusty rose and burgundy with black
Fabric & knit: Printed chiffons and silk, spotted Swiss voile, cashmere, striped or plaid wools, Chantilly lace, floral brocade, torsade, jacquard, sheepskin, kidassia, rabbit, flecked wools and hand knits
Print & pattern: Chintzy country florals in muted tones, large painterly blooms, diffused checked effects, paisley leaves, bi-colour stripes; knitted and woven patterns included Argyle diamonds, a creeping floral with bird, zigzag stripes, masculine stripes, jacquards with two patterns/colourways that bleed into one another
Details & trims: Lace frills and inserts, exposed bras at the back of dresses, frilled cape sleeves, beading and embroideries over masculine fabrics, patchworked knits, waterfall closures
Footwear: Cuban-heeled chelsea boots or ankle boots, with studded criss-cross straps or fold-down tongues
Accessories: Weekend bag in fur, studded handbags, floral printed small formal handbags
Live From... Paris Fashion Week, Day 6
Givenchy
An uncomfortable subversive mood ran through the Givenchy collection, where Riccardo Tisci forsook his signature religious-gothic iconography in favour of getting down and dirty with street-inspired looks, borrowing heavily from designers such as Christopher Kane and 80s Versace, but without either of those designers’ finesse.
The look: Subversive
Silhouette: Casual layers
Key items: The pencil skirt anchored the collection, worked in sheers to layer under thigh-high leather skating skirts, or in printed satin with revealing sheer panels. That same subversive peekaboo mood ran through to the bra tops peeping through sheer mannish shirts, sometimes teamed with a patent- trimmed narrow tuxedo jacket and skinny pencil skirt. Blouson-shaped jackets, collegiate jackets and satin sweatshirts brought a street vibe into play, anchored with Versace-esque chain prints or a glowering panther-head motif. Retro pin-up Bettie Page was another print motif, encircled with a wreath of pansies - a flower head that was repeated as a colourful all-over print on everything from woven sweats to blouson jackets and matching pencil skirts. And for evening, printed tunic tops with jewel-scattered sheer skirts, fluffy mohair knits, sheer tees and Versace-ish patterned skirts
Colour: Black, poison green, purple, canary yellow
Fabric & knit: Satin, sheer organza, leather, mink, patent, silk, mohair knits
Print & pattern: Panthers and pansies, orchids, Bettie Page motifs
Details & trims: Jewelled studs, jewelled collars
Footwear: Gold trimmed patent or satin courts
Accessories: Baseball caps, catseye glasses
An uncomfortable subversive mood ran through the Givenchy collection, where Riccardo Tisci forsook his signature religious-gothic iconography in favour of getting down and dirty with street-inspired looks, borrowing heavily from designers such as Christopher Kane and 80s Versace, but without either of those designers’ finesse.
The look: Subversive
Silhouette: Casual layers
Key items: The pencil skirt anchored the collection, worked in sheers to layer under thigh-high leather skating skirts, or in printed satin with revealing sheer panels. That same subversive peekaboo mood ran through to the bra tops peeping through sheer mannish shirts, sometimes teamed with a patent- trimmed narrow tuxedo jacket and skinny pencil skirt. Blouson-shaped jackets, collegiate jackets and satin sweatshirts brought a street vibe into play, anchored with Versace-esque chain prints or a glowering panther-head motif. Retro pin-up Bettie Page was another print motif, encircled with a wreath of pansies - a flower head that was repeated as a colourful all-over print on everything from woven sweats to blouson jackets and matching pencil skirts. And for evening, printed tunic tops with jewel-scattered sheer skirts, fluffy mohair knits, sheer tees and Versace-ish patterned skirts
Colour: Black, poison green, purple, canary yellow
Fabric & knit: Satin, sheer organza, leather, mink, patent, silk, mohair knits
Print & pattern: Panthers and pansies, orchids, Bettie Page motifs
Details & trims: Jewelled studs, jewelled collars
Footwear: Gold trimmed patent or satin courts
Accessories: Baseball caps, catseye glasses
Live From... Paris Fashion Week, Day 6
John Galliano
It all could have been reduced to limpid clothes hung forlornly on rails, but as if saying thank you for everything up until the implosion, Sidney Toledano - present in person - brought to life the presentation of Galliano’s fall collection in an intimate salon-style show. The grandeur of the setting - gilt furnishings, draped red velvet, huge floral arrangements, twinkling chandeliers and the intoxicating scent of Galliano’s Diptyque candles - may have evoked the presence of the designer, but the quietness that stilled the room brought appreciation and sadness in equal measure.
The look: 1930s couture
Silhouette: Nipped waists and blouson volume, languid bias drapes for evening
Key items: Expertly cut tailleurs consisting of cropped, nipped-waist tweed jackets - one with wool-fringed cuffs and a taffeta puff-ball skirt, another in houndstooth with a sexy cutaway back teamed with a latex pencil skirt. That subversive Galliano twist followed through to a black latex trench coat with organza back panel, layered over a short lacy slip dress. Coats included a ruffle-fronted wrap in plaid tweed, a cream cocoon with tall fur collar, and a lace-trimmed kimono coat in the palest jade-green silk. Signature diaphanous gowns in delicate sheers arrived for evening, including two halterneck options and a black-sleeved gown embellished with jet beads and wispy marabou fringe
Colour: Grey, black, cream and warm mink brown, with jade and emerald greens, lilac and amethyst, bois de rose and palest boudoir pink
Fabric & knit: Slubby tweeds including micro houndstooth, latex, taffeta, organza, chiffon, silk, luxe furs and marabou
Print & pattern: Shattered abstract on sheer, a stencilled paisley teardrop as a placement border, a floral of X-rayed roses
Details & trims: Exposed backs, wool fringing, covered buttons, arrow-head appliqué on sheer, illustrative stitch quilting, lace trims, bows, marabou fringe, fur collars, jet beading, micro embroideries
Footwear: Multi-strapped heels with ankle straps linked with padlocked chains and fine brogue punching
Accessories: Multi-strand chain belts decorated with heart-shaped padlock charms
It all could have been reduced to limpid clothes hung forlornly on rails, but as if saying thank you for everything up until the implosion, Sidney Toledano - present in person - brought to life the presentation of Galliano’s fall collection in an intimate salon-style show. The grandeur of the setting - gilt furnishings, draped red velvet, huge floral arrangements, twinkling chandeliers and the intoxicating scent of Galliano’s Diptyque candles - may have evoked the presence of the designer, but the quietness that stilled the room brought appreciation and sadness in equal measure.
The look: 1930s couture
Silhouette: Nipped waists and blouson volume, languid bias drapes for evening
Key items: Expertly cut tailleurs consisting of cropped, nipped-waist tweed jackets - one with wool-fringed cuffs and a taffeta puff-ball skirt, another in houndstooth with a sexy cutaway back teamed with a latex pencil skirt. That subversive Galliano twist followed through to a black latex trench coat with organza back panel, layered over a short lacy slip dress. Coats included a ruffle-fronted wrap in plaid tweed, a cream cocoon with tall fur collar, and a lace-trimmed kimono coat in the palest jade-green silk. Signature diaphanous gowns in delicate sheers arrived for evening, including two halterneck options and a black-sleeved gown embellished with jet beads and wispy marabou fringe
Colour: Grey, black, cream and warm mink brown, with jade and emerald greens, lilac and amethyst, bois de rose and palest boudoir pink
Fabric & knit: Slubby tweeds including micro houndstooth, latex, taffeta, organza, chiffon, silk, luxe furs and marabou
Print & pattern: Shattered abstract on sheer, a stencilled paisley teardrop as a placement border, a floral of X-rayed roses
Details & trims: Exposed backs, wool fringing, covered buttons, arrow-head appliqué on sheer, illustrative stitch quilting, lace trims, bows, marabou fringe, fur collars, jet beading, micro embroideries
Footwear: Multi-strapped heels with ankle straps linked with padlocked chains and fine brogue punching
Accessories: Multi-strand chain belts decorated with heart-shaped padlock charms
