Valentino, RST13, Paris.
The Valentino collection for Resort 2013 contrasted a selection of delicate laces in sorbet shades with graphic stripes and a leopard print spot. The laces and embellishments were used in a variety of ways, from laces appliqued in pieces over a sheer backing, to delicate beading that appeared to have been engineered to each cut piece of fabric.
Alexander Wang, RST13, New York.
When a piece of fabric is first cut out, it has none of the markings that are seen on the pattern.
Thom Browne, Menswear, AW12.
The jock vs. punk subculture dichotomy that Thom Browne created for his Autumn-Winter 2012 show gave rise to a battle of silhouettes. There were skinny tailored sleeves and high set armholes - and on the flip side, he created a lumpy, bulbous, oversized silhouette which appeared as rigid and uncompromising as football armour. Across both these silhouettes we saw a mash-up of preppy colours and punk hardware, sporting helmets worn with mask-like eye make-up and candy coloured knitwear held together with safety pins.
Maison Martin Margiela, Couture, AW12, Paris.
For their debut haute couture collection, the Margiela team put together an unusual mix of fabrics and textures to create an alternative version of glamour. In the Autumn-Winter 2012 collection there were references to interiors with giant glass door knobs or curtain rod fixtures used as fasteners on raw edged tailoring, or at the apex of draped silks and laces.
Jil Sander, RTW, AW12 (Left) and Christian Dior, Haute Couture, AW12 (Right).
It makes for a rare fashion season when a designer produces a haute couture influenced collection for a ready-to-wear label, and then the same designer creates an actual haute couture collection at another fashion house altogether. This is precisely what has happened in the Autumn-Winter 2012 season, when Raf Simons presented his last collection as Creative Director at Jil Sander, and also presented his first haute couture collection as Creative Director at the house of Christian Dior.
Comme des Garçons, AW12, Paris.
For her Autumn-Winter 2012 collection for Comme des Garçons, Rei Kawakubo presented a very flat collection that called into question the very nature of the way we view fashion. As a comment on the way that we generally view collections as endless catwalk thumbnail images the garments were made out of very thick felt, giving the appearance of paperdolls playing dress-up, and making the garments perfectly suited to only being viewed front on.
Chanel, AW12, Paris.
With so many looks, garments, different fabrics and embellishments involved in a Chanel show, it often takes a second look to fully digest the entire collection.
Balenciaga, AW12, Paris.
Nicholas Ghesquiere has a knack for making his job at Balenciaga look easier than it actually is. After all, it is one thing to moodboard up an innovative concept and sketch up exciting silhouettes every season, and something else all together to make sure that all the tiny details, combinations of fabric and ideas look resolved and polished by the time the garments hit the runway.
Balmain, AW12, Paris.
To create an opulent collection in his second season at the head of Balmain, Olivier Rousteing drew on an array of techniques to create multi layered fabrics with an intense level of detailing. Leather was used as embossed and laser cut panels layered over velvet, or quilted with lines of stitching. Velvet was used as an under cloth, or heavily embossed for fitted trousers. Velvet was also used with a burnt out devoré effect, revealing sheer lines of fabric in the base cloth beneath the velvet pile.
Alexander Wang, AW12, New York.
On first impression Alexanders Wang’s recent Autumn- Winter 2012 collection was all about textures - matt vs. shiny, coated vs. uncoated, bubbled vs. smooth. The subtext however was far more interesting and by reading further into the use of all these textures there was a sense that the collection was actually much more about control.
Prada, Menswear, AW12, Milan.
It was against the background of the homogenous men’s suit, that Miuccia Prada worked touches of individualism into her recent show for Autumn-Winter 2012. The looks were comprised of carefully layered garments that were given personality by small arrangements of pocket detailing.
Comme des Garçons, SS12, Paris.
Rei Kawakubo and the team at Comme des Garçons were able to tread a careful line in the exploration of female wedding gowns for the Spring-Summer 2012 collection. They gave us all the right clues to know that this collection was all about bridal wear with silk satin in whites, off whites and creams layered with fine lacework, beading and even some faux floral embellishments in soft greys and lemons.
Rodarte, SS12, New York.
The Spring-Summer 2012 collection from Rodarte centered around the colours and textures that Vincent van Gogh used to great effect in his oil paintings. The tones were at times as vibrant as van Gogh’s depiction of sunflowers, while in other garments the tones were muted and murky as in Starry Night Over the Rhone (1888).
Proenza Schouler, SS12, New York.
Sleeve shapes and panelling are a subtle yet directional way that designers are controlling the feel of their collections. The raglan sleeve in particular has enjoyed a renaissance over the past few seasons as both a reference to the couture and the athletic. Raglan variations have been visible on broad kimono style sleeves as well as on raglan sleeve styles that cut in close over the curve of the shoulder, often using a seam up the outside of the arm to take in the shaping over the sleeve head, where a traditional set-in sleeve would look more square.
Gareth Pugh, SS12, Paris.
The Spring-Summer 2012 collection by Gareth Pugh built in an interesting way, especially through the disciplined black and white pieces. While there are basic forms and silhouettes that are being continually remoulded by Pugh season after season, the treatment of the shapes is always very different on a structural level. So much of what creates the interest as the collection unfolds is in the comparisons - Pugh will give you both extremes of the one idea, so you can compare the effect of the rich black and the stark white, or watch as the most rigid structure is turned into flowing self stripe chiffon.
