original aesthetic

I honor legend designers who were/are making their names bigger in the world. I love Lee Alexander McQueen Some pictures aren't mine unless I say so. I'm just sharing my inspiration with all collections.

[dekonstruktivisme]

Ann Huybens spring—summer 1998.

Her designs aim to combine exoticism and serenity, nostalgia and desire, chaos and peace. In concrete terms she translates this philosophy into clothes which are designed and made, literally and metaphorically, round the body.  All pieces in her collections can only be ordered to measure. She creates mainly for women, regardless of age, shape or size. 

Her collections always contain sections for afternoons, evenings and nights. Huybens intends this division into three sections to represent the circular course taken by a woman’s life. Her clothing is three-dimensional, wound in a spiral round the body, with no beginning and no end, an unceasing movement. She uses stitching, piping and contrasting colours to emphasise the seams that run round the body. Asymmetric fastenings, details and shapes ensure freedom of movement. A spiral skirt and a tango dress are typical items in her collections. The spiral skirt is a skirt with neither beginning nor end, wound in a spiral round the hips. Her tango dress has a long train that can be tied up by means of a small loop. Let’s dance! 

In her choice of fabrics she is always on the lookout for material that is kind to the skin, and so natural rather than synthetic. Organic prints, embroidery and shot fabrics supply changes in colour as the wearer moves or the light changes. The seven shades of colour appearing on the Tranche de Vie print on silk crêpe, provide an example of her favourite colours, ranging from strong colours to gentle shades. Her love for the organic is so great that she uses natural materials in her designs. Shoes for example are given a ‘drumstick’ heel or made entirely from pony or ostrich leather. (Mink shawls and feather boas, wraparound suede belt 5 metres long)

Ann Huybens: I find a man dressed in a very refined dress the height of eroticism. I go on the assumption that men have the right to wear dresses, to be able to feel very fine materials on their body. It seems to me they have even less freedom than women in how they can move and behave. 

[givenchyrunway]

Kaufmanfranco Autumn/Winter 2014-15

[vltracon]

Christian Jeppsson

[pivoslyakova]

Francesco Scognamiglio, Spring/Summer 2015 detail.

[mariacarlabosscono]

details @ Thierry Mugler Haute Couture S/S 1998

[untitledblogproject]

Comme des Garçons

[fashioninhistory]

Bodice

Autumn/Winter 1980

Issey Miyake 

Beautiful woman’s torso becomes a bodice. This super realistic expression was realized by taking a cast of a body with the help of a mannequin manufacturer. Although it covers the body, at the same time it makes us conscious of the body’s existence, and it even stirs a feeling of voluptuousness engendered by the contrast between the inorganic plastic and the suppleness of the wearer’s body. This is one of Miyake’s best-known works.

This work was shown at the finale of the autumn/winter Paris collection in 1980, marking the start of the body-conscious fashion at that era. Miyake introduced a series of works including a bustier made of rattan and vinyl in 1982 and his “Silicon Body” in 1985. These works were the main exhibits in the “Issey Miyake Bodyworks” exhibition, which toured worldwide from 1983 to 1985.

[ankosv]

backstage at maison martin margiela fall winter 1989/90

[22ackermann]

BLACK tie REDUX by MMM………No.1

[maisonmargiela]

Backstage photos from the MM6 Maison Martin Margiela Spring-Summer 2015 show are now on Facebook.

[akaverhatura]

[rust-neversleeps]

Hiroshi Sugimoto Yohji Yamamoto Spring/Summer 1983

[a-state-of-bliss]

Issey Miyake Spr/Sum 1995  photography by Platon, my scan

[22ackermann]

FOOTPRINTS…………No.1

[wgsn]

Inspired by 3D modelling software glitches, Noa Raviv has designed garments that bring the digital into a physical space.  Classic Greek and Roman sculptures are the starting point and then worked into hi-tech garments.

[dekonstruktivisme]

[dekonstruktivisme]

Maison Martin Margiela autumn—winter 1998—99.

Le Foyer de L’Arches, La Grande Arche de la Defence, Paris. A subterranean Space under the Arch de la Defence. Three people are chosen to each represent their professional discipline in presenting their vision on the collection: New York based photographer Mark Borthwick, London based stylist Jane How and Paris based writer Sydney Picasso. Mark Borthwick’s project included the projection of a video in two parts shot in New York in early March 1998 and a book entitled ‘2000-1’. The video features a verbal interaction between three women wearing garments of the collection. The book features photographs taken during the shooting of the video and is published in the autumn of 1998. For Jane How’s project fifteen life-size puppets are each dressed in an outfit of the collection styled by Jane. Two professional puppeteers manipulate each puppet, specially made in UK. Sydney Picasso decided to produce a white cotton ribbon, on which a continuous text is printed, as well as a pamphlet entitled ‘Endless Threads’. The tract is distributed and the ribbon is tied to everyone’s wrist as they enter the space. Thirty members of the Maison Martin Margiela staff, in blouses blanches (white coats) serve red wine to the crowed while the three visions on the collection are being expressed. A soundtrack by Mark Borthwick plays loudly. Collection: The second part of a collection is in two parts. The principal group of the collection is made up of five series of `flat’ garments with displaced shoulders or necklines. Their sleeves or their neck opening lies on their front. The panels of industrial garment patterns in black motorbike leather and sheepskin are assembled to form coats and jackets. Flat ‘Grocery Bag’ garments in stretch flannels and woollen herring bone. A series of ‘Envelope’ garments have full-length zips that allow skirts, trousers and sweaters to be opened and laid flat. Various used military garments have been transformed into army trousers (worn inside out), army shirts with a displaced shoulder line. Amongst accessories are leather gloves transformed into pendant wallets and ‘Anti-Theft’ wallets in leather, worn as bags.

[hautekills]

Oscar Carvallo haute couture f/w 2014

[9thspacevol2-deactivated2017071]

Gareth Pugh AW14 Shot by Lea Colombo

[organization-blog]

Kawakubo, in fact, stirred things up last season, when her oddly shaped pillows sewn into clothes represented to some a preposterous symbol of everything that is wrong with fashion. To others, they were typical of the way Kawakubo fearlessly pushes the proverbial fashion envelope every season. For stores, they were a test of how close to the edge their customers would venture. Barneys New York was faithful to Kawakubo’s vision and merchandised the collection with pillows firmly in place. While the collection may not be a top seller, Barneys carried it out of loyalty to Kawakubo. "For us, it’s about supporting a designer and what their interpretation is that season," said Bonnie Pressman, Barneys’ executive vice president and fashion director. "Is it easy? No. Is it commercial? No. But you try and work with it. She’s very influential." "My customers won’t go that far," said Dresner. "It is not so easy to interpret these things in a real way for people. My customers buy her [Kawakubo’s] clothes, but I try to buy them with my customer in mind… -“The lumps were repellant to me and I imagine they were to anybody,” said Norma Fink, co-owner of Theodore’s in Los Angeles. “Rei is a very good businesswoman and she knows what people will wear. I don’t think the customers would ever go to such extremes as that. That’s runway merchandise.” The runway is a constant struggle for designers, who must satisfy buyers and the press, who crave varying degrees of newness, excitement and innovation.

”Redefining the edge: avant-garde confronts reality of bottom line” by Sharon Edelson for WWD, 1997 (via vogueltalia)