Author: aneekasandher

Alexander Wang for Balenciaga a/w 2013

As Alexander Wang was about to make his debut at Balenciaga, the thought on everyone’s mind must have been: “how is it possible to even TRY and follow the outstanding designs which have graced this french house under the hands of the ever-talented Nicolas Ghesquière?”

As the audience departed Balenciaga’s intimate salons on the Avenue George V however, all doubts and worries were laid to rest. Wang confirmed that the show venue suggested going “back to the roots, identifying the codes of the house and translating them into a functioning, full wardrobe”. This not-so-simple task proved a success in my opinion as the collection felt true to the lines of Cristóbal  himself (Cristóbal having been called the master of us all, according to Dior).

The collection was filled with the traditional cocoon coats, jackets with rounded volumes, petal skirts, curved hems, molded and structured peplums and bracelet sleeves (to name a few!) — sculptural qualities for which Cristóbal was celebrated for in the late 50s and 60s. Fitting for a collection going back to the codes of the house… and made innovative with dynamic new materials. 

The emerging trend on Alexander’s runway both literally (the runway itself looked like it had just experienced an earhquake) and embellished on the clothes themselves was faux marble – first showing up as a fractured print on the lining of elegant tops with opened backs, then as a motif on embroidered dresses and then finally on looks which clearly had Wang-style written all over them: tuny shaved fox jackets with high-waisted velvet lace pants.. the play on the two textures = absolutely genius.

The accessories are sure to be a commercial success (along with the collection itself, which was very wearable!).. i especially have my eye on those figure-eight metal-buckled riding boots — which were also seen as closures and decoration on the garments themselves.

Tim Blanks has cleverly interpreted the cracked, paint-spackled mohair knits as a metaphor about the promise of a young designer: ”ready to break with the past when the time’s right”. The promise of Alexander and his intriguing new directions for the future are clear from this beautiful collection and when he does break with the past, I predict it’ll have everyone floored in awe.

Sketched: Prada for Gatsby

Multi-striped sequin dress with plastic embroidery at the bottom. Inspired by the Prada s/s 2011 collection
Radzimir dress with bustier embroidered with pearls, stones and sequin fringes
Orange organza dress with plastic fish scale-like sequin embroidery. Inspired by the Prada a/w 2011 collection
Knee-length dress in octane-coloured tulle lined in matching silk cady – topped with crystal-coloured Swarovski

Here are sketches of Prada’s designs for the upcoming film The Great Gatsby — a collaboration with Baz Luhrmann.

It was designed by the ultimate female of fashion herself, named as such especially with last year’s exhibition at the Metropolitan Museum Costume Institute in New York, which honoured Miuccia Prada’s work alongside fellow Italian designer Elsa Schiaparelli (coincidentally with Luhrmann as creative consultant!).

Prada has created amazingly retro looks of shimmering dresses with fringing, tulle-overlaid, crystal-embroidery, and beaded hems (colours including emerald, jade, gold and topaz.. as seen above) – perfect for the period setting of the film.

This sort of old-hollywood glamour is exactly what i’m looking forward to seeing when the film is released next summer – naturally with a bit of Leo Di Caprio on the side – Prada and Luhrmann actually created the suit Di Caprico wore in the 1996 film version of Romeo & Juliet.. seems fitting in a way, no?

Joseph Altuzarra a/w 2013

For fall/winter 2013, Joseph Altuzarra bravely discarded the prints and embellishments that have been oh-so pretty and present in his past collections. What were often the most memorable and what made me love his pieces so much (due to my never-ending love of prints), I wasn’t sure what i’d make of this drastic departure however, I fell quite in love with it!

An “exploration of street”, the clothes were slick and city-ready from the very first fitted pant suit and leather bolero with exaggerated shoulder (an emerging silhouette that is proving ever so popular in New York, first seen in the form of Karl’s framed shoulders not too long ago in Paris for couture week).

“If you take away print and embroidery, you have to challenge yourself a bit more on the cut”, as Altuzarra described. Well, he easily overcame that challenge! Moving away from the comfort of prints demanded a sharper attention to tailoring, cut, and fit – which was prominently displayed in the coat-dresses with nipped in waists and double-breasted power suits (did you love the big buttons like i did?! there’s proof is in the detail, people!) — pure talent in elaborate construction.

The prints were replaced with straight lines, corseted leather and vinyl fabrics (which Altuzarra preferred because of its waterproof nature, proving it to age better than leather). Not to mention the restrained yet somewhat fresh colour palette (black, white, caramel, and a hint of forest green). The pieces evoked a discernible essence of reality, yet managed to keep some of that dreamy fantastical nature and trip-around-the-world feel of his past collections.

Actually, those over-scaled fox-fur mittens tapped into that past whimsical nature (maybe a bit too much for my liking) but would undoubtedly keep you warm amidst the raw chills of winter.

The sexiness of the clothes was also unquestionable, seen in use of the luxe monochromes and leather (what’s not sexy about leather?), defined waists and zippy-skirts. Altuzarra himself stated that “every collection plays with the idea of sexy and sensuality, but in this one the sexiness was very overt”.

“The fiercest, sexiest and most wearable clothes in New York”? Tim Blanks, you took the words right outta my mouth.

Rag & Bone: R-T-W a/w 2013

Marcus Wainwright and David Neville’s “girl” for fall was inspired by the minimal-chic mod of the sixties combined with the idea of aviation & fighter planes in particular, with vintage flight suits having been a longtime obsession of Wainwright’s – a contrast to their Dacar racetrack inspired Spring collection.

These ideas became reality in the form of short, simple and bold looks that any trendy 20-twenty something city girl would kill to wear —> sounds a bit like someone I know?

It was impossible to miss the Chanel-esque references in the outfits (tweed jackets and quilted textures) but these had a Rag & Bone edge, something unique with oversizing the jackets and trousers – giving it all a more casual, work-wear feel. (would Coco approve? I know I do!)

The designers’ British upbringing wasn’t missed either, with menswear check prints, reconstructing the classic houndstooth in grandiose proportions and having tailored pieces in a digitised Prince of Wales wool.

What absolutely captured me most about the show (on top of everything else!) was the colour palette – it’s as if the collection was designed with my favourite colour combinations in mind: deep purples, sea-foam green, flashes of orange and the ever so prominent cobalt blue. The airplane-inspirations were also seen in the contrasted colours of dark grey, olive and black, to further emphasise the bold colour pops.

Of course the signature layering was present – although cleaner and more sophisticated compared to previous collections – this time with dark thigh-highs showing beneath the super-short hemlines of mini skirts and lust-worthy blazers and coats to top it all off.

Always one of my favourite shows of New York Fashion Week, the Rag & Bone “girl” is definitely growing up and I for one am excited to see what “woman” is about to emerge.

Designers to Know: Isa Arfen by Serafina Sama

Photos: http://isaarfen.com

Asymmetrical silhouettes & knock-out embellishments, Serafina – a Central Saint Martin’s graduate – couples traditional Italian design aesthetic (having grown up in Ravenna) with the quirky playfulness found in London.

A sense of stylish non-chalance anyone?

Each look is statement-making and unique, yet subtle and oh-so easy to wear at the same time with its streamline cuts and pastel hues. On my wish-list is.. every.single.look. (but I mean, how could you choose?!)

Serafina’s inspirations come from London, stating she can find inspirations around every corner – which is believable as London has so much to offer:  exhibitions, libraries, vintage markets, people on the street (to name a few!). Although London has had a great influence on her development as a designer, she told Elle magazine (where I first found & immediately fell in love with Isa Arfen) that growing up in Ravenna, Italy, surrounded by “really strong female figures, with very eclectic personal styles” will always be reflected in her design aesthetic.

The Isa Arfen girl: a real woman: sophisticated, confident but without craving attention. Someone who is passionate about clothes and likes to have fun with them. — I don’t know about you, but that has a certain ring to it, no?

The clean shapes in contrasting proportions, high waists, cropped tops, oversize coats, embellishments & the overall luxe-appeal of every put together look just makes you want to get your hands on these clothes right now and wear them stark in the middle of freezing winter

Opening Ceremony and www.thecorner.com are stocking them for Spring, go go go!

check out www.isaarfen.com for more!

Photos: http://isaarfen.com