The Cutting Class

Surreal Motifs at Christian Dior

Mon, 13 May 2013 18:31:00 +0100

Christian Dior, AW13, Paris.

The recent Christian Dior collection for Autumn-Winter 2013 used an array of solid and elegantly draped silhouettes in combination with sparse embellishments seen in the form of painterly watercolours and illustrations borrowed from Andy Warhol»

If the collection was seen in terms of a series of fashion illustrations, then the silhouettes would have been represented by broad expressive paint strokes of monochrome colours with the occasional stroke of crimson or candy pink for graphic effect. The designs featured sections of sweeping fullness and drapery that would often finish with an asymmetrical tier at the front left hip.

Continuing on the fashion illustration metaphor, the detailing of the collection would instead need to be painted in with diluted watercolours and then articulated with outlines drawn with a very fine sketchy brush stroke, and highlighted with daubs of light catching shimmer. In terms of materials and techniques this often translated into fine embroidery thickened with very tiny beads and embellished with scatterings of flat sequins.

It was the treatment of the delicate motifs of the collection that were perhaps the most worthy of a second look, since the use of sketchy faces and florals could have been so wishy washy in the hands of another designer. In the case of this collection and with the craftsmanship of the Dior Atelier at Raf Simons’ disposal, these details took on a surreal quality where eyelashes encrusted in bugle beads sometimes floated down the backs of dresses, or eyes appeared on the petals of floral arrangements along a stem made of couched cord.

The colour of these details also had a large part to play in the ability of these illustrations to avoid appearing overtly prissy. For example, there were a large number of colours used from rich purples and yellows, to diluted magenta and teal, and greens which bled from olive through to emerald. This use of colours seemed in keeping with what Simons described as his approach to the collection, “approaching it almost like a personal scrapbook” and allowed different elements and motifs to float across the more monochrome backgrounds.

You can follow this link to view the video of Tim Blanks interviewing Raf Simons from Style.com»

Images from Vogue.co.uk»

Comme des Garçons Shows How Ribbon Roses Are Done

Fri, 03 May 2013 15:58:00 +0100

Comme des Garçons, AW13, Paris.

There is always a certain generosity in the way that the Comme des Garçons garments are created, more specifically a generosity of volume. This means that when Rei Kawakubo does a take on ribbon roses, then we are not shown mere puny, silky roses but are instead shown large masses of fabric that seem to grow from oversized tailored garments.

Instructions for how to make a ribbon rose from Save on Crafts»

Ribbon roses are traditionally quite small, delicate details created out of ribbons (hence the name) but in the case of the Autumn-Winter 2013 collection by Comme des Garçons the roses were instead made from large strips of fabric creating giant size roses. In the case of these giant roses it appeared that the bottom edge of the strip was used to attach the rose to the body of the garment.

At times the fabric for the roses appeared to be only applied ontop of the rest of the garments but at times they appeared to grow straight from the body panels of the garments. This sense of the embellishment growing from the garment was also the case for other embellishments such as the thick tubes that coiled around sleeves or knotted at elbow level. Interestingly, both the gathered tube and the knot appear in the “how to” diagrams above.

Another layering technique that was used in the collection involved large rectangles of fabric and these appeared to have been fused with backing so that the cut edges would not fray.

As if to further emphasise the oversized nature of the collection many of the trousers featured a roughly pinched in detail at the centre front and centre back waistbands, as though the trousers had been temporarily run in to fit the models.

Images from Vogue.co.uk»

Balancing Proportions at Chanel

Tue, 23 Apr 2013 14:19:00 +0100

Chanel, AW13, Paris.

In the recent Autumn-Winter 2013 collection for Chanel, Karl Lagerfeld made the high thigh area the erogenous zone of choice, creating layered garments that focused on a narrow rectangle of skin that appeared just above thigh high boots and just below flared skirts and jackets.

This narrow sliver of skin was used to balance out other oversized proportions in the collections such as dropped shoulder jackets that were wide and round from the front and yet surprisingly slim when viewed in profile. This idea of the wide and the narrow, the oversized and the skin tight, flowed through the garments of the collection often appearing in triangular shaped sleeve and cuff details and in flared skirts and jacket tails.

Another detail of note was the use of a front jacket seam that went horizontally across the front of jackets above the bust line that was used in conjunction with vertical darts from the waistline to create a flattened style of bust shaping. The use of this horizontal seam meant that pattern pieces at the front of jackets often flowed across from the shoulder area directly into the sleeve without the need for a classic set in sleeve line.

Detailing elements for the collection often played with the use of the world globe as a sphere and the world map as a 2D motif. The result of this was seen in tiny globe buttons on much of the collection as well as a globe handbag and a self fabric pattern that used the world map as a repeat pattern.

Images from Vogue.co.uk»

Framing and Peeling at Chalayan

Fri, 12 Apr 2013 18:36:00 +0100

Chalayan, AW13, Paris.

The recent collection from Hussein Chalayan for Autumn-Winter 2013 used different techniques and details to frame the silhouette and create layered garments that at times had the ability to transform on the catwalk. The overall effect was to combine both the sensational with the understated to create garments that were ultimately completely wearable.

In any designer collection, when attempting to completely come to grips with how exactly a garment has been formed and shaped you are best to concentrate on the location of the seam lines and the grainlines.

By locating the seam lines you can begin to work out where one pattern piece ends and another begins and by looking at the grainline you can begin to see how the fabric falls and to see what shaping is contained within the pattern. In the Chalayan collection this was evident across the circle skirts and in the bias cut denim pieces where you can follow the grainline to better visualise the volume used in the pattern.

The thoughtful placement of seam lines was also often used within the collection to create an hourglass line within the silhouette of the actual body. Seams such as these sometimes need to be supported by the correct internal structure such as fusing, horsehair or canvas to work correctly without collapsing. Details such as these are sometimes so understated that you only really notice them when they are done incorrectly so be aware that seemingly simple panel shaping can take time to get just right.

There was also a play on alternately framing and then revealing the silhouette of the body within the collection, with trousers that had additional side panels and incredible dresses that peeled back on the catwalk to reveal underlayers in contrasting colours and textures.

Images from Vogue.co.uk» and Style.com»

Gif from @erlsn»

Structured Tailoring and Ornate Textiles at Kenzo

Thu, 04 Apr 2013 18:46:00 +0100

Kenzo, AW13, Paris.

Cleverly crafted tailoring details were nearly obscured by the ornate prints and embellished textiles that were used in the recent Kenzo collection for Autumn-Winter 2013. The collection by Carol Lim and Humberto Leon also experimented with layered looks of nearly identical textiles that made the most of a rich yet muted colourway laced with metallics.

In terms of tailoring details, the use of specially shaped seams to create lapel lines within jacket fronts was especially effective, as they were used to create subtle shaping changes within the detailed fabrics. This also allowed the additional layering of contrast fabrics and textures in some of the garments.

The general cut of the garments throughout the collection also created a gentle blend of cultural references. One such element that exposed the mixture of shapes on a pattern making level was the stark contrasts in armholes shapes across the collection. By way of example, some of the tailored garments were cut high and tight under the arm, as opposed to the shirts that were cut with large square sleeves set into deep armholes reminiscent of kimono or dolman shapes.

There was a nice theme of matching and yet not matching textiles, that played nicely into the wearability of the collection with similar fabrics layered together or sometimes used twice in the one look but altered for the second garment. This could be seen through the appliquéd top halves of some looks/garments that were echoed in the textiles used for the matching bottom half of the same look.

Images from Vogue.co.uk»

Clever Shaping at Miu Miu

Sun, 31 Mar 2013 18:21:00 +0100

Miu Miu, AW13, Paris.

The recent Miu Miu collection was a careful study in how to push a single design idea to the limits, with careful developments of cuts and colours evolving over the course of the show. These ideas were supported by key construction details that supported a variety of silhouettes.

One of the key ideas of the collection was in the use of navy outerwear in a variety of fabrications and silhouettes, from fully-fashioned knitwear through to raglan duffle coats and precise tailoring. These styles often used the same construction details for shaping across the different fabrics and this could be seen through the use of deep tucks at the waists and sleeve heads of the garments.

The considered shaping was carried into the more patterned garments such as the polka dot dresses through the use of darts which were used sparingly to create volume in sleeves and hips, helping to avoid unnecessary seam lines.

There were also common themes of fastenings and closures across the different fabrics and patterns. The use of open and closed zips accompanied by purely decorative buttons was one such theme that continued into the accessories to form the closures for the shoes.

A key silhouette idea was in the balance between hip and shoulder volume across the looks, so wide hip volume was often balanced by wide lapels and dropped shoulders. Similarly narrow shoulders on slim line knitwear continued down the body fitting smoothly over the hips. Another key idea was in the use of a rich navy down to the knee level before the style exploded into pleated stripes and polka dots.

Invisible details worth noting include the centre front zip that was set into the high neck dress without an additional seam - often easier said than done. The use of fur hooks also proved to be a perfectly invisible closure on the fluffier garments.

Images from Vogue.co.uk»

Counterchange at Proenza Schouler

Wed, 20 Mar 2013 16:19:00 +0000

Proenza Schouler, AW13, New York.

Black and white is a timeless theme that is often used by designers for the graphic qualities that can be induced in garments simply by placing the whitest of whites and the blackest of blacks side by side.

The recent collection by Proenza Schouler for Autumn-Winter 2013 however did not rest on easy graphic monochrome, instead exploring counterchange down to the smallest levels of embellishment.

For a start the choice of black and white was supported by the textures chosen by McCollough and Hernandez and then softened by a few well chosen chalky pastels and some nicely curved silhouettes.

The use of counterchange was at first visible in a very clear way, with layers of wooly black and white tailoring, but then became more detailed with fabrics that were specifically chosen to be the monochrome reverse of each other.

The use of chain as an embellishment served to break up the black and white distinction even further, and served to blur the line between what was counterchange as an embellishment onto a fabric and what was counterchange as a woven part of the fabric.

The final twist was in the garments that used counterchange as both reversals of colour, and as counterchange of positive and negative space. The prime examples of this were the fabrics that appeared to have been lasercut and then relayered back again with the same cut out shapes, and also in the lace dresses that appeared to also be embellished with the same cut out shapes of negative space.

Images from Vogue.co.uk»

Honeycomb Details at Alexander McQueen

Fri, 16 Nov 2012 12:00:00 +0000

Alexander McQueen, SS13, Paris.

The recent Alexander McQueen collection was intensely detailed, with minute fabric layering and honeycomb peephole details. The Spring-Summer 2013 under the reign of Sarah Burton centred around the idea of the bee hive, and the concept was the driving force behind structural and textural details as diverse as exquisite mesh, bee brocades and over blown flowers.

The frantic feeling of the hive was evident in the layering of the honey comb motif with different scales of the comb hexagon peeping through in mini vignettes created by cage-like outer layers. This was truly dynamic use of fabric and textiles to create texture and movement, with textiles created that consciously blurred the boundaries between each layer of the garment.

There were also many references to womanly curves and lingerie details, with bell shaped hip structures emphasising the models waists and tiny slithers of sheer panelling creating cheeky details in the back panels of shorts and skirts, or creating the illusion of lapel lines in tailored pieces.

Images from Vogue.co.uk»

Cosmetics and Surgery at Antipodium

Fri, 02 Nov 2012 15:00:00 +0000

Antipodium, SS13, London.

The Spring-Summer 2013 collection by Antipodium referenced cosmetic surgery and fleshy skin tones through creepy placement prints and a variety of textures that worked with the curves of the body. The placement prints came in the form of single colour line work that was reminiscent of cosmetic surgery markings.

Antipodium’s creative director Geoffrey J. Finch uses different collaborators each season, and the pre-surgery placement prints were the result of a collaboration with Dr. Tim Goodacre, president of the British Association for Plastic, Reconstructive and Aesthetic Surgeons. A further institutional reference came in the form of a moulded latex trench, that was cleverly cut to use the raw edges of the latex and outlined with black trim.

A second print involved a grid-like pattern of flesh coloured squares that were gradated towards the valleys of the body and that mimicked the colour variations of “skin-coloured” cosmetic colours. This palette print was worked into a pleated skirt and also into the back of a blouse where the knife pleats were secured down to the shoulder blade line and then opened up to create fullness around the waist.

The fleshy pinks and oranges of the collection were offset by the occasional use of glossy black patent leather to add a darker undertone to the collection. The use of black and some cleverly disjointed tailoring added a subversive edge to the garments, in contrast to other more kawaii details such as pencil skirts with built in bum bags.

Images from Antipodium»

Graphic Movement at Issey Miyake

Fri, 26 Oct 2012 19:42:00 +0100

Issey Miyake, SS13, Paris.

In the Spring-Summer 2013 collection for Issey Miyake, Yoshiyuki Miyamae used vibrant colour, bold graphic lines and incredible disintegrating pleating to fill the sculptural clothing with movement.

There was a clever visual illusion at work where movement was at times create through 2D fabric in the form of layered prints and stripes, while at others the movement was created through actual 3D texture effects such as variations in pleated fabrics.

At times the pleating seemed to be breaking apart into tiny pixels, with fabrics that appeared to have been coated or screen printed, while they were still pleated, that opened up on the body to reveal the uncoated fabric. At other times striped fabrics were cleverly tucked and twisted to use both the black and white of the fabric to draw the eye in and out of the curves of the body.

Images from Vogue.co.uk»

Louis Vuitton's Checkerboard Counterchange

Fri, 19 Oct 2012 09:21:00 +0100

Louis Vuitton, SS13, Paris.

It was all about the graphic use of counterchange at the Spring-Summer 2013 show for Louis Vuitton. A checkerboard design was used in a wide variety of scales, with minute details to match.

The level of detail employed was stunning, from the precisely matched seams, pockets and pockets flaps down to the split tone buttons that matched the check. The execution of the matched checks across sheer fabrics and pleat was especially interesting, with the pattern designs clearly engineered to match the fabrics.

Bringing the counterchange concept to the floral motifs allowed a break against the inorganic check shape, and allowed for a play with even smaller check details used in seam crossing appliqué.

While the initial impression was all about the check, there were also some more subtle structural details at work that pushed towards a new silhouette. The shoulder seams scooped slightly forward off the shoulder line, as the antithesis of dropped shoulders, and the area of the patterns across the bust was pulled tight to help create the slight A-line flare of skirts and dresses.

Images from Vogue.co.uk»

Twists at Celine

Thu, 11 Oct 2012 18:30:03 +0100

Céline, SS13, Paris.

The Céline collection for Spring-Summer 2013 combined texture plays with slouched silhouettes to create garments that felt simultaneously luxurious and effortless. There was a certain gravity to the collection, created in no small part through the use of large twists that folded heavy satins across the body.

The heavy “evening wear” connotations of these glossy satin fabrics was off-set by the more casual insouciance of gestures such as stray raw hems. The high shine fabrics were also broken up when twisted with matt fabrics, lines of crinoline or overlaid over fabrics of contrasting colours.

Crinoline was an unusual choice in this context, as this type of crinoline is usually used for millinery purposes.

Céline images from Vogue.co.uk»

Technical images from The Cutting Class»

Refreshing Colours and Sports Details at Chalayan

Thu, 04 Oct 2012 16:55:24 +0100

Chalayan, SS13, Paris.

The recent collection by Hussein Chalayan for Spring-Summer 2013 featured crisp white tailoring, and vibrant flashes of colour with hints of sporting fabrications. It was above all a refreshing collection, a solid palette cleanser with Chalayan’s usual exquisite attention to detail.

The way that flashes of colour were used in the collection was especially interesting. It seemed that the colours chosen were always very pure bright colours that were only ever diluted through their textile form or the way they were used in layering. For example, while no pastel tones were evident, the neon green was reduced to a pale citrus under a sheer white skirt. The wide sports stripes that echoed the hems of sleeves, were actually lines of broken pattern, so rather than blocks of solid colour there was always a sense of texture. Even the bright tones used as inserts in the hats by Noel Stewart, were not too overpowering as they were made from transparent plastic.

Basically, everything about this collection felt light. From the sheer floating fabrics to the deft use of colour, from the flared silhouettes to the perforated mesh fabrics. You felt that Chalayan had complete control over where you were looking in this collection, using the colours and angles of design details to draw your attention to different parts of the body.

Images from Vogue.co.uk»

Christopher Kane Texture Frankenstein

Thu, 27 Sep 2012 17:51:00 +0100

Christopher Kane, SS13, London.

The influence of the Frankenstein narrative emerged in the recent collection by Christopher Kane in a variety of ways. The sheer magnitude of experiments in the Spring-Summer 2013 collection, seemed in itself to suggest that Kane had himself become his own version of Dr. Frankenstein.

There were so many ideas in this single collection and so many experiments exploring ways to manipulate fabric and ways to build up texture across the garments. Elegant, folded tailoring was fastened with chunky plastic nuts and bolts, while dresses that appeared to be made of shirred lolly wrappers were evidence of the childlike references that often appear in Kane’s designs.

Bows also became a major theme of the collection, at times growing from the folded garments into square fabric bows, and at other times the bows appeared as prints on opaque and sheer fabrics. The plastic from the bolts was also echoed in small curly, plastic bows that were piled row on row onto dresses and jackets to create a spiky lace-like effect.

The folded tailoring and grid-like permanent pleating proved to be important features of the collection as they served to add cleaner lines to break the curlier lines of rose quilted biker jackets, lace-like neckpieces and endless permutations of the bow motif. The “tape” that was used had the same cleansing effect as the pleating and folds, adding an intentional graphic hardline to lace appliqués that would otherwise have been too sparse and haphazard.

Images from Vogue.co.uk»

Waist Darts at Rodarte

Wed, 19 Sep 2012 14:52:00 +0100

Rodarte, SS13, New York.

Darts are a shaping device that will often be hidden away in a garment to try to make them inconspicuous, but they can also be used as a feature of the design. The Rodarte team have quite a knack for making the most of darts and have in the past used the dart value at the waist line in a number of different formations.

For their Spring-Summer 2013 collection the Mulleavy sisters used the dart value in a variety of ways including thick gathers and tucks which opened upwards towards the shoulders, accentuating a triangular silhouette. At times the darts were also extended out past the waist line. It is interesting to consider how designers use techniques such as this and picture them as actual patterns as this will help you to picture your own design ideas in more concrete forms.

Catwalk images from Vogue.co.uk» Technical images from The Cutting Class.

Dusty Pastels and Intricate Lacework at Valentino

Wed, 05 Sep 2012 14:58:00 +0100

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.

The silhouettes were predominantly classic shapes drawing attention to the models waists with use of tucks and flared skirts to mould the fabric around the body.

Look book images from Vogue.co.uk»

Fundamentals of Pattern Making: Pattern Notches

Thu, 30 Aug 2012 14:54:00 +0100

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.

For a machinist to sew these two pieces of fabric together effectively they need to know:

How much value has been allowed as seam allowance?
How do the two seams match to each other?

The way that a pattern maker indicates this information to the machinist is through the use of pattern notches.

Pattern notches are small marks made on the pattern to ensure that one pattern piece will match up to the pattern next to it. They can be used to show what the value of the seam allowance is, and can also be used as markers along a seam to make sure that the two pieces of fabric will come together correctly when sewn.

On a cardboard pattern, they will look like small indents around the outside edge of the seam allowance. You can buy special pattern notching tools that will clip this small indent into the edge of your cardboard pattern.

The notches that are made on the cardboard pattern are transferred onto the cut fabric by the cutter. This is done by making very small nicks in the fabric, only about 2-3mm. This is enough of an indication so that when the machinist is sewing together the garment, they can easily tell where the fabric needs to line up, and how much seam allowance value has been allowed by the pattern maker.

The images below from the Alexander Wang collection for Resort 2013 have been used to illustrate how pattern notches would be used to ensure that one panel will correctly line-up with an adjacent panel. Correct use of pattern notches are essential to ensure that the tension along a seam remains even and that fabric is not stretched as it is sewn.

Alexander Wang, Resort 2013.

If you consistently find that you reach the end of sewing a seam with extra fabric on one of the pieces of fabric, this could be caused by one of these problems:

Your pattern was incorrect
You did not line up your notches correctly
You did not have enough notches to guide you

The example below shows how notches can be used to show the seam allowance value of 1cm. When cutting the small indents into the pattern it is important to:

Cut only small notches in cardboard, to prevent tearing.
Notch the side of a corner that will be sewn first.
Notch only one side of a corner, to prevent tearing.

The example below shows how the notches are transferred onto fabric once it has been cutout:

The example below shows how the notches should line-up when sewing a straight seam:

The use of notches becomes even more important on curved seams. It is important to concentrate on the stitching line of the seam, and square out from the stitching line to make your mark on the seam allowance edge:

The example below shows how the notches need to match up in order to sew the curved seam correctly:

Look book images from Vogue.co.uk» Technical images by The Cutting Class»

Jock Armour and Punk Details at Thom Browne

Thu, 23 Aug 2012 10:57:00 +0100

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.

The subversion that is evident in much of Thom Browne’s work came across in a darkly playful way with the extremes of silhouette and culture contrasts giving the pieces an interesting sense of freedom - even though both silhouettes appeared incredibly restricting in their own ways. By combining the clichés of the two subcultures Browne appeared to liberate the stereotypes of both.

Images from Vogue.co.uk»

Bejewelled Masks at Maison Martin Margiela Haute Couture

Fri, 17 Aug 2012 11:54:00 +0100

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.

A close look at the details appeared to suggest the references were not just to interiors but in the act of shopping for interiors and other luxury goods. One such interesting detail was the use of fabric cards as pocket squares with text that appeared to name check French department stores such as Grand Magasins du Louvre and Printemps and possibly the 18th century French silk designer Philippe de Lasalle. There was also a neckpiece reminiscent of black velour jewellery display stands.

Then there were the more obscure references to sporting goods including pieces draped from flattened baseball gloves, and a finale coat made from a Renegade sail complete with a center back view with the measurements for the luff, boom and mast.

Images from Vogue.co.uk» and StyleBistro.com»

Raf Simons for Haute Couture

Wed, 08 Aug 2012 09:53:00 +0100

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.

Technically the Autumn-Winter 2012 collection for Jil Sander was not part of Simons’ “couture trilogy”, though by that point the couture references that he had developed for the previous three seasons had notably changed his approach to cut and proportion.

Jil Sander, SS11, Milan.

It was for the Spring-Summer 2011 collection that Simons first showed his couture references, producing a colour blocked collection of demi couture pieces and most notably fusing together classic white t-shirts with graphic, sculptural peplum skirts.

Jil Sander, AW11, Milan.

The second couture installment came in the form of a haute couture / sportswear hybrid in the Autumn-Winter 2011 collection with stirrup leggings and knitwear reminiscent of a 1950s ski resort.

Jil Sander, SS12, Milan.

For the Spring-Summer 2012 collection, and the third part of the trilogy, there were references to the beauty treatments and health spas of the 1950s with a stunning focus on crisp, white pieces providing an eerily institutional edge to the collection.

Across all three of these collections there was a feeling of absolute control and precision, and in a sense this feeling springs from the heart of haute couture itself. Personalised fittings for custom made garments, the height of cut and craftsmanship, the forefront of design and exclusivity - haute couture is fashion at it’s most disciplined where nothing is left to chance.

It is this level of control that allows for haute couture designers to create the sculptural, off-the-body volumes and silhouettes that we have come to call “couture” even when they appear on the ready-to-wear catwalks. It was these cocoon silhouettes, wide shawl collars, peplums and A-line styles that Simons evoked in his final four main collections at Jil Sander as part of his couture inspiration - but he also updated these silhouettes with unusual fabrics and sophisticated use of colours to create a contemporary version of couture - even before making his debut at a haute couture house.

Interestingly, the Autumn-Winter 2012 collections that he created (though they were at two different labels) feel related to each other - like a story told in two parts. While the previous collections often featured demure lengths and high necklines, the new erogenous zone of these two collections was the bust area, leading Simons to experiment with new cuts and panelling details.

After making a seemingly painless transition from one label to another, the interesting thing to watch will be what Simons can do a with a true couture arsenal of artisans and to watch as he translates and references the Christian Dior archive.

Raf Simons for Jil Sander, RTW, AW12, Milan.

Raf Simons for Christian Dior, Haute Couture, AW12, Paris.

Jil Sander SS11 images from Vogue.co.uk»

Jil Sander AW11 images from Vogue.co.uk»

Jil Sander SS12 images from Vogue.co.uk»

Jil Sander AW12 images from Vogue.co.uk»

Christian Dior AW12 images from Vogue.co.uk»