The Cutting Class

Comme des Garçons, SS12.

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.

But as ever with Comme des Garçons, the rebellion is in the execution. Where you would normally find carefully hand bound edges and french seams on a wedding gown, there was instead roughly cut necklines leaving exposed slabs of wadding. When giant-sized, voluptuous silken bows were used, they were used in a strangely creepy way, binding the models hands together. When boning was used to give the gowns structure it was not hidden discreetly away beneath layers of fine silk, it was instead made into an exterior cage that seemed to be constructed out of plastic boning and wadding.

The wadding in itself played a very important part in the collection - rounding out silhouettes and leaving all of the gowns looking thick and puffy. Not so much puffy in an unflattering way but more in a way that gave a subconscious reminder about very comfortable quilts.

The elements that gave each of the outfits their individual character were the headpieces that at times seemed to be mottled as though they were covered in spray on concrete. Or sometimes the headwear appeared as rubberised alternatives with strangely sagging theme-park faces. The black of these headpieces was also brought out in the glossy black and white paint that formed angular lines across the front of a couple of garments These angular marks, especially used so sparingly, contributed to the dark undertones that seemed to be simmering through the whole collection.

Images from Vogue.co.uk».

Miu Miu, RST12.

The resort collections were not just about the clothes themselves, they were also a chance for the labels to show off their accessories through a still image / lookbook format. While the accessories can pass by in a blur on the catwalk, the still photos allow time to get the models gloved hands and bejewelled wrists into just the right position. One label that wasn’t afraid to accessorise their collection photos to full effect was Miu Miu where pastel pearl necklaces, lightning bolt earrings and heart shaped bracelets were layered over garments of lace, vibrant checks and pastel prints.

Images from Vogue.com».

Bearded Male Models from the SS12 Menswear Collections of Yohji Yamamoto, Junya Watanabe, Umit Benan, Ann Demeulemeester and Piombo.

Often the menswear collections of the past few years have been modelled by svelte young boys who are so fresh faced that it looks as though they may not have even started shaving yet. In the more recent Menswear collections for Spring-Summer 2012 it seemed as though many different facial hair variations were presented - everything from unkempt stubble to neatly trimmed moustaches and full grown beards.

The interesting thing about this choice of casting and styling, is that it lends the clothes a more worn in quality. There is something about the fact that the models hair has been left looking more individual that gives the models more ownership over the clothes. Whereas the freshly shaven young boys look as though they have been carefully groomed, before putting them into pristine clothing samples - the models with facial growth look as though they just walked in off the street, out of their everyday lives and onto the catwalk.

Catwalk images from Vogue.co.uk and Style.com.

Jean Paul Gaultier, Couture, AW11.

Fashion has had a long love affair with the symbols of the ballet world throughout history, from tutu inspired dresses and ballet flat shoes, to colour palettes inspired by soft nudes, pinks and strong blacks.

For the Autumn-Winter 2011 Couture collection from Jean Paul Gaultier the ballet shoe was converted into a high heel - without the actual high heel part. While the wraps of ribbon and shining satin materials make these beautiful objects, it’s hard not to feel that it’s not the most flattering of line for footwear. Especially when you think about the arch of a foot in a real ballet shoe, curving gracefully to support the full weight of the body and lengthen the line of the leg.

Catwalk images from Vogue.co.uk».

Armani Prive, Couture, AW11.

For Georgio Armani’s Couture collection for Autumn-Winter 2011, the garments and accessories were created to honour and celebrate the Japanese aesthetic. In terms of styling this included Philip Treacy’s very own versions of Kanzashi, the beautiful hair ornaments that have become such a symbol of Japanese Geisha beauty. In Philip Treacy’s interpretation, the floral arrangements mimicked the more traditional headpieces and provided a 3D version of the prints and embellishment used in the garments of the collection. In contrast the more sculptural, origami inspired headwear provided a more structured dynamic and were apparently also partly made from paper, similar to the styling of the Oscar de la Renta collection for Resort 2012. Images can viewed here from the post Angular Cubist Hats at Oscar de la Renta».  

In the use of the floral and sculptural elements, these two opposing styling references echoed the use of colour and form within the collection, and echoed the dynamics that we associate with the aestehtic of Japan itself - the slim line restraint of the elegant black dresses gave the collection a suitable sombre and reserved edge, while at the same time the garments are given new life through the elegantly vivid prints and details.

Giorgio Armani Prive, Couture, AW11.

Images from Vogue.co.uk».

Oscar de la Renta, RST12.

In the images above we can see some of the amazing geometric hats that were used to accessorise and accentuate the Cubist inspired textiles that were the soul of Oscar de la Renta’s collection for Resort 2012. The unusual tonal combinations and colour blocking that designers have been experimenting with of late were at play in this collection in a way that references the work of Picasso. The hats were seen to great effect when paired with the full length evening dresses that closed out the show that were presented in vibrant red, classic black and a shimmering indigo tone.

Catwalk images from Vogue.com».

Comme des Garçons, SS10.

A little while ago there was a post about the colourful hair styling used for Yohji Yamamoto’s Autumn-Winter 2011 collection (Yohji Yamamoto’s Wool Top Hair») but recently I rediscovered the amazing hair styling of the Comme des Garçons Spring-Summer 2010 collection. There is something about the use of the whimsical confectionary coloured hair that offsets the more monochrome deconstruction of both designers so well. The styling definitely adds a different tone to the deconstruction, making it appear more playful and less destructive, which is the more bleak mood that deconstruction can sometimes emit.

For the hair in this collection it is uncertain what has been used to create the pastel, Marie Antoinette fairy floss effect but it looks as though it could be some sort of wadding that has been spray painted or powdered with multiple colours. It also looks as though the hair has been pierced in some sections by giant kilt pins which make for an unusual hair styling addition.

Kilt pin from House of Anoria.

Catwalk images from Vogue.co.uk». Kilt pin image from House of Anoria».

The hair styling for the Yohji Yamamoto Autumn-Winter 2011 show was amazingly colourful and made the models look a little like elfish troll dolls. Of course we can’t be sure what they used for the this show, without feeling the models hair and peering through the bags of the stylists, but if you are after a fibre like this for your own original creations, then wool tops are available in a large range of vibrant colours.

Catwalk images from Vogue.co.uk. Merino wool top images from WorldofWool.