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.
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.
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.
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.
Pam Hogg, AW11, London.
The Autumn-Winter 2011 collection by Pam Hogg had a darkly whimsical quality to it, combining disparate elements to create catwalk characters. On the one hand there were dresses, coats and panelled bodysuits out of black leather with buckles and belts fastening the garments closed across the body. Then the bodysuits appeared again but this time in multicoloured woodgrain prints that were shown in many variations, almost as though it was an experiment in how the woodgrain texture and panel shapes could be used to create movement and effect proprotions across the curves of the body.
Missoni, AW11, Milan.
There are some catwalk shows that are almost blinding in the designers use of colours, textures, patterns and layers of garments. Missoni is definitely one such show which can become almost overwhelming in the sheer magnitude of pieces and individual ideas that are on display.
Alexander McQueen, AW10, Paris.
For many who knew or worked with Alexander McQueen, or for those many people who admired the work of Alexander McQueen, the pieces from his final collection must carry with them an incredible sense of sadness and devastation. Not only because they were the final pieces that he was working on up until his death, but also because they are so exquisite.
Jean Paul Gaultier, Couture, AW11, Paris.
There are some designers who create clothes that have a great sense of movement, often through the sheer volume of fabric used in the garment or the amount of space between the body and the garment, or even through the lightness of the fabric that enhances the movements of the models.
Givenchy, Couture, AW11, Paris.
The sheer time scales for developing ideas for Couture vs Ready to Wear garments is vastly different. Once a pattern has been finalised from toiles a finished salesman sample can be made relatively quickly for a ready to wear garment, and if necessary it can be recut with final pattern and construction changes, in different colourways or substituted fabrics. For couture, the design development process is a lot slower and needs to be approached with greater focus and discipline.
Chanel, Couture, AW11, Paris.
Hidden amongst the boucles and tweeds at the Chanel couture collections were some incredible buttons that were as beautiful as brooches. There were also some trims that on closer inspection seemed to have been designed to directly mimic the look of chain, and this ran around the edges of cuffs, hems and collars.
