#deboramuller

[thepassengertimes]

Roe Ethridge. Debora Muller with Tripod. 2008. #Chromogenic #color #print. 43 x 33" (109.2 x 83.8 cm). Private collection. © 2010 #RoeEthridge #DeboraMuller #photography #photographers #photographysouls #portrait #portraitphotography

[oneporktaco-blog]

madrid fashion week: maya hansen

(images via vogue)

oh, my.  so many outstanding shows, so little time (yes, i'm aware that's my fault, but still). for her s/s 2013 presentation at madrid fashion week, designer maya hansen opted for a theme and aesthetic that reminded me a lot of austrian designer lena hoschek's s/s 2013 show at berlin fashion week. but really, both were ultimately so good, i'd have a difficult time in selecting a winner here.

titling her spring range 'skully tulum,' ms. hansen opted for a mix of mexican ideas that sometimes we've seen a lot of (sigh, frida kahlo, and here i'm not linking, because we've already discussed how many kids draw on her work for their shows), and sometimes that which we need to see more, methinks (day of the dead, which also inspired the aforementioned ms. hoschek, to great success).

anyway, the spanish site neomoda explained that (trans.) "(c)orsets follow the order of the day, marking the feminine silhouette. Outfits with prints were often kaleidoscopic, which we recognized as including Aztec signs such as Day of the Dead, the Virgin of Guadalupe and the wonderful Frida Kahlo."  told you.  sigh.  but really, the kahlo bit wasn't too obvious, and the rest of it came together just beautifully.

anyhow, hoy mujer carried on by explaining that the models were meant to represent different visions of ms. kahlo (or, at least, that's how i understood it), sans the mustache, of course (they, like, felt they really needed to note), while carrying on that they (trans.) "wore magnificent hyper elastic jumpsuits adjusted with psychedelic prints, leggings, collared shirts, tunics and semitransparent...magnificent 'corset dresses.'"

meanwhile, the spanish website el mundo was a little more skeptical of the proceedings, terming the range (trans.) "kitschy and gimmicky," and i suppose that i can see their point.  i honestly don't believe it was intended as any kind of an ethnic slur-type collection, nor anything but a celebration of some aspects of mexican culture, but i suppose on the other hand, i can understand how some might see it as appropriating some pop culture-type bits, and not really taking the time to understand the depths of some of these concepts.

however, on the other hand, i suspect that if we're too sensitive, one risks alienating people from wanting to try to understand other cultures, as if they sometimes stumble and fall on their path to greater appreciation and get bitch-slapped for it each time, it may promote a scary sort of incuriousness. and really, i think i'm pretty sensitive, and yet, i see nothing except some lovely clothes and fetching, fetish-y dresses with some of the baddest-ass prints in current circulation.  so let's focus on that, yes?

and so, with that in mind, finally, we heard from the spanish website hola, opining that (trans.) "we were able to admire the excellent work of Maya Hansen...Wonderful craftsmanship of each piece, from the simplest to the corsets of the  corset-gowns that integrate seamlessly with other pieces. Along with them, other items like coats, shorts, stretch-suits that cling to the female figure, and short sleeved jackets make up a collection that, once again, features the full colour printing as the true protagonist, this time with motifs as flashy as the skulls or plant or animal motifs."

(check out the video here)

[oneporktaco-blog]

fashion rio: giulia borges

(images via ffw)

it's a rare thing these days when opt tackles a new designer at rio de janeiro's fashion rio, so when the name giulia borges didn't immediately send me into loud exclamations of rapture (as nearly all brazilian designers do these days), my interest was piqued that we were finally onto some fresh blood.  however, this will turn into a treat of its own kind in that we're rediscovering someone we haven't seen for a bit...we last checked out ms. borges' work during the a/w 2011 season, when she was proffering dainty creations inspired by a japanese artist and some mythical, kawaii half-panda creatures.  things are switched up quite a bit for the a/w 2012, but her zeal for bright colours and feminine things is still apparent as ever. 

in a move that all-but-determines the designer has a place forever in my heart, brazilian site ffw reports that her inspiration for the fall came from (trans.) "antique dolls and childhood memories," quoting the designer as explaining of the latter (trans.) "before the enchantment and fear aroused by fantasies and perfection."  vogue pointed out that it wasn't particularly path-breaking, but thought that it would appeal to the younger customers, and i got a quick flash of erin fetherston, that new york-based designer whose inclination to get awfully precious lead to a breakdown of her first label, and a relaunch of a lower-priced line.  some of ms. borges' ideas are a little on the saccharine side, as well, although i tend to disagree that this was inclined to those especially youthful.  some pieces, perhaps, but by no means all. 

anyway, elle liked it and wrote that (trans.) "(s)equins, glitter and lace - often used at the same time - set the tone so characteristic of the extravagant musical style. In addition to this mix, there were also some bets more feminine, more sexy. Overalls and dresses appeared with strategic cutouts at the waist (for those who are with the balance in days) and back. Transparency was strong, but did not appear as revealing."  and the brazilian site chic gloria kalil had a few interesting thoughts, including the idea that some of the black and white dresses looked to be made (trans.) "from desconstructing pieces of men's shirts."  they also noted the lovely hand-worked embroidery, which gave one of the collection's more feminine touches.  the fluro-pops of colour were also rather unexpected, i thought, though quite welcome. 

as always, of course, stylist robert estevão took charge of the hair and beauty, with moda spot reporting that the inspiration came from "Glam Rock" and that models were given rather minimalist makeup, though their lower lids were lined with false lashes.  hair, on the other hand, relates brazilian site terra, gave a bit more of a statement and was piled (trans.) "high with loose threads" hanging around about the face.  portais da moda explained that, in the accessories department, models were given acrylic bracelets and necklaces, while (trans.) "(t)he shoes that were on the catwalk were boots with feathers on the shin and strappy sandals, both come in black and with a clear acrylic heel."  i have to admit, most of the accessories rather perplexed me; they had rather a tribal, or at the very least, strongly modernist, vibe that gave a toughness to the collection.  not that this was unwelcome, but it didn't immediately go with the rest of the show, and this slightly 'off' element to consider made things a bit more interesting.  

while i guess it would be easy on first appraisal to say that this was a collection all about sweet girlishness and such-like, i think that would be a mistake, and ultimately, what drew me in.  sure, heels are high and dresses and short (or feature cut-outs), and we could easily also go the 'good girl gone sexy' route, i don't really think it was about that, either.  i think there was a toughness to the dolly here, like one who has been through a few nightmares with the older brother's toys, and doesn't want to experience that again, arming herself with the contents of some war chest and maybe a few poisoned darts.  she's maybe taken a spin with some of the vintage, modernist toys (say the deco ones) and learned things about the world while she's on her stint, and simply putting her aside as either a pretty face or even a femme fatale would be a mistake.  maybe she's a secret agent?  after all, there's a lot of room in that lucite platform...

(see the collection video here)

[oneporktaco-blog]

spfw: triton

(images via ffw)

it's probably tiresome to hear me claiming that practically every brazilian label we discuss is my favourite (though to be fair, i think i've been doing more of that in rio de janeiro than são paulo), so while i won't exactly say it with triton, i will say that their f/w 2012 show was one i had looked forward to very much indeed.  when first introduced to the house a year ago (see f/w 2011), i was a little skeptical, thanks to a paris hilton appearance on the runway, but i quickly succumbed to the realization that to dismiss them would be a shame, and by s/s 2012 had warmed to them considerably.  now, their thing is young and cute, so if you're an older, more sophisticated customer of, say, andrea marques, you're probably not going to warm to triton just the same, but no matter, says i, it's not weighty, just fun. 

this time around, as the brazilian site ffw explains for us, the brand opted to tackle (trans.) "(a) mix of young Brazilians looking at European images such as the vaults of Notre Dame and medieval art."  they also kept bringing up the word "college" (which, interestingly enough, was part of the inspiration a year ago), so the notion i was getting was something like art history students paging through books and visiting museums and co-opting the images into their own style in an interesting way.  that, and early-mid-nineties punk, which was evoked in the thick-soled boots (which rather resembled dr. martens or creepers, i thought), as well as some of the layers and the chains (okay, so they were beads, but from a distance, they looked like chains) hanging off anastasia kuznetsova's blouse (at bottom).  

anyway, as elle reports, designer karen fuke employed materials like knitwear, wool, brocades, organza, tweed, muslin, jaquard, silk georgette, and crepe, with embellishments including a variety of bead types, embroidery, and crystals.  the colour palette was lovely as ever, with dark shades like black, deep gray, teal, cobalt, rust, and french blue balanced out with lighter hues of lemony citron, bone, mustard, and goldfish orange.  patterns were worked quite heavily, and although none of my sources can explain them to my satisfaction, they generally tended to be architectural, sweeping, and almost gothic-style geometrics (but in a much more contemporary colour scheme) that i'm assuming came from the nave of notre dame, especially because ms. fuke confirmed to elle, (trans.) "(t)here were several references, one of them was the Gothic vaults of the cathedral of Notre Dame de Paris." 

with regards to the fall's silhouette, portais da moda reflects that the pants and shirts are fitting looser this season, and with a high and rather conservative neckline (sometimes a mild scoop or 'v').  meanwhile, brazilian site chic gloria kalil opined that triton is becoming one of são paulo fashion week's hotter tickets, with an exceptional eye on the textile front and a vintage-y flavour running strong this season.  i'd tend to agree and to point out that there was a certain seventies (by way of the nineties) vibe that cropped up now and again, particularly in the pajama-y coordinating (or contrasting) pant-and-trouser sets (as third from below, or on debora muller, third from above) and on a chocolate and bone letterman's-style bomber jacket fabiana mayer wore.  the very picture of a chic retro co-ed, no?

the student-y notions were carried through, as the site terra points out, in the oversized sweaters worn over not-too-short miniskirts (as on alicia kuczman, above), the backpacks, and the aformentioned platform shoes, as well as the track pants and satchel-like bags.  they also noted that the beauty styling--headed up by the ubiquitous robert estevão--was kept pretty minimal (as the trend in brazil has been strongly leaning this season), with hair parted in the middle (seventies/nineties-style), and (trans.) "'clean' make-up that meant that the models' parade of faces were mostly sunny."  if there was a moment i didn't get, it would be that there were a few hints of flapper-isms, particularly in that lovely cadet blue dress (fourth from above), and maybe, on closer inspection, anastasia's blouse at bottom that i previously thought was punky.  i liked them very well, but...i'm not sure they fit with the overall rest of the show's tone. 

that said, however, there was very little else to displease in the show.  most of the pieces were quite wearable, and there was plenty to suit even the older girl, provided that she pick apart some of the looks and style them in her own manner. the prints were lively, the cuts lovely, and it was refreshing to finally see a collection orientated towards the younger demographic without being a parade of t-and-a on display.  not that sexy isn't fine, but actually, ms. fuke did a pretty rousing good job of bringing up alluring moments (as above), without ever getting anywhere near the word vulgar.  it helped once more to solidify triton's position as an interesting label and a hot ticket on the spfw schedule.  maybe that's why they've now realized they don't need paris hilton at all.  the clothes have their own appeal, and it's more than enough to get the customers coming back to see more (see additional images at vogue).

(watch the full runway show video here)

[oneporktaco-blog]

nyfw: thakoon

(images via ny mag)

i may have once told this tale before, but no matter, it's important enough that rather than stopping me, you ought hear it repeated.  at a party back during my student years, gadding amongst people who founded themselves situated rather high in the "art" world (whatever that really means), i found myself at the beginning of a conversation with a woman about a decade older than myself.  she had been expounding on her successful art blog, and after pausing to ask what i did, i replied "fashion", to which i was greeted with the sharp clip of her hair as she turned her face from me to--hopefully--find someone more intellectual than myself to her immediate left. 

i like to reiterate this story largely because it underscores a point on the way a lot of the rest of the creative community seems to look at those of us engaged in fashion (and sometimes, it seems, we take that on ourselves, as well): as substantially less intelligent than those occupied in the pursuit of some other art--sculpture, say, or music.  and i would rejoin that, fairly, there are some aspects of fashion which can be found to be nothing other than downright dull.  people who find beauty in the label name first and the actual design second, for example, or many of those incarnations of, ahem, celebrity design. 

but on the other hand, there are also plenty of examples one can find throughout the fashion schedule year in which we're brought something singular, clever, or even something that perhaps helps to open our spectrum of understanding.  and so, trying to do just that, after an a/w 2011 season which was spent exploring the juxtaposition of french history and a kenyan tribe, thakoon panichgul of the self-named label thakoon once again donned a cultural anthropologist hat for his s/s 2012 season collection, presented at new york fashion week. 

this time around, mr. panichgul opted for the mashup of indian culture with western references (as in, the horse-riding, hat-wearing, cowboy kind).  or, as style put it, "Bollywood Western."  and, as they continued to explain, "(t)his time around, it was an everyday bandanna that kicked things off. When he studied its pattern, the paisleys led him to India. The cross-cultural exchange produced a super-vibrant collection of searing turquoise, saffron, orange, and gold, in silhouettes that ranged from yoked Western shirts to a lamé salwar kameez embroidered at the neckline. The metallic trim on saris provided a recurring motif. Golden bands encircled the hem of a flippy mini, the legs of khakis and lightweight denim jeans, and intervals on a long trapeze dress. Topping everything off were updos powdered hot pink or aqua and two-tone cowboy hats." 

but though it could have been easy--tempting, even--to dismiss the show as just another one of spring's colourful, cartoon-like fiestas of camp (as we've seen elsewhere at the likes of proenza schouler and prada), as cathy horyn of the nyt points out, the designer was actually striving for a deeper meaning: "Mr. Panichgul seems much more interested in responding to his own emotions about identity and place while steering clear of the clichés. You sense, in fact, how transitional everything is — culture, beliefs — and how difficult that idea is to impart in a fashion show. That’s possibly why Mr. Panichgul’s recent collections have been so engaging."

but of the clothes themselves, wwd described them as "basic sportswear silhouettes — Bermuda shorts, short pleated skirts, blazers and peplumed shirts. Likewise, the rich, Indian-inspired details, such as paisley guipure overlay down the front of a simple shirtdress, and lavish embroideries that appeared in a heart shape or on the back of a vest around the shoulders of a fantastic trench. Panichgul’s controlled eye made the most traditional elements modern, including his new vision for the sari, done here as a cropped halter top, and full, peasant skirts piped in gold lamé."

if there was a problem to be had with the collection, it was, as vogue pointed out, "(b)ut, and there is a but, the one noticeable drawback to this collection was that Panichgul’s usual knack of making whatever is shown on his runway be able to walk off into real life wasn’t always fully engaged here. The show needed, amidst the relentless parade of exotic flora and paisley, a few more of his clever strategies as to how his girl might wear all this print with anything beyond the gold lamé banded khakis and one perfect, pin sharp black blazer."  it of course wasn't always the case--there were plenty of pretty tops and dresses that could be worn as the single statement piece--but for a designer who has made his name more with the wearability factor than, say, manish arora, it presented a little hiccup to the otherwise lovely show. 

in the end, i'm not sure we necessarily left with the revolutionary glaze in our eyes that many used to upon completion of a particularly seminal alexander mcqueen show, but for a designer who was previously known for issuing cute and colourful new american sportswear and dresses, suggesting aspects of greater cultural understanding and the interplay between them is a huge jump.  and no, it might not have been the greatest art of the moment (however beautiful it was to gaze at), but if we were left with thoughts a little deeper than what pieces barneys will have in our size next season, that's probably a good thing.  i don't think fashion is an ignoble or superficial pursuit, and i never have.  but that doesn't mean i don't want to shove it to some of those art-snobs on occasion, either.

(watch the complete runway video here)

[oneporktaco-blog]

nyfw: sophie theallet

(images via ny mag)

sophie theallet likes to come up with clever themes conveying her french-ness in a way that appeals to her american audience (as the fairy tales for f/w 2010 or beret-clad bonnie parker for f/w 2011) and for the s/s 2012 season's show, presented at new york fashion week, she chose the erotic french film la piscine (those educated new yorker-types loving nothing more than to stand about discussing the finer points of classic french cinema). 

as vogue explains, however, ms. theallet didn't go about her adaptation of the character of marianne in the typical way (especially as said lady lingers about throughout most of the film in her swimming costume).  "It starts soft and gets more powerful in reference to the film’s building sexual tension,” they quote the designer as saying with regards to her colour palette, described by the nyt's cathy horyn as "jewel tones mixed with navy and frivolous pinks." 

style points out that when faced with an erotic element, "It was interesting to see Théallet work with this kind of edge. It manifested in subtle ways, like the rib-exposing cutouts on a sweet tulip-print maxi wrapping around to an X back with partially blacked-out straps. A navy satin shirtdress, slit just so, gave the model a bit of swagger, as did one of Théallet's favorite looks with a lean tuxedo jacket. The frisson of push-pull was underscored by happy-hued Mary Janes, given their bite through needle heels and dangerously pointed toes."

wwd alone was a bit hesitant with regards to the range, worrying that perhaps there were too many echoes lingering from fall's saucy-sporty girl (though i'd argue the flavour was much more international this go-round).  but that seemed to be the only criticism in a sea of contented nods, pleased with ms. theallet's chich parisian fashions come stateside.  and the wsj, on another note, makes an interesting point, writing that "Ms. Theallet is often inspired by ethnicities – with prints reminiscent of tribal or Indian cloth" and what with all that we've been seeing elsewhere at nyfw, it "(s)eems like trends are catching up to her."  we should check to see what else we'll be wearing in coming seasons. 

(watch the collection video here)

[oneporktaco-blog]

london fashion week: nicole farhi

(images via style)

perhaps the most exciting thing about the spring 2012 nicole farhi show, presented at london fashion week as part of the beginnings of the celebration of her brand's 30th anniversary, was how easy it might have been to dismiss.  things started out rather simply, from the first prim almost sixties look in a brilliant shade of goldenrod trimmed with cream and a big bow--cute, but not much of a shakeup from what we'd already seen dumped upon us like so many day-old bridesmaid bouquets. 

perhaps it was the designer's inspiration points that seemed a little droll--she told lfw that she drew from "(f)lowers, ice cream and lightness.”  that got a little fleshed-out wwd ("inspired by an Indian garden in bloom") and the wsj, which quoted ms. farhi as saying "It was one of the most fun and light-hearted collections I’ve done.  I wanted to use flowers, but I didn’t want it to be in a romantic way.  I wanted to use it in a very modern way, and almost sporty."

if pretty, the palette wasn't drastically different from what we'd seen elsewhere--the aforementioned canary, a softer rose-yellow shade, goldfish orange, crisp white, rose pink, lime, and brilliant bubblegum--but some of the almost graffiti-like floral prints and tamer varieties rendered in almost neon shades (a'la peter som) kept things fresh and interesting, if there were also some watercolour-like renditions of flowers as well that were perhaps a shade too tame.

as style aptly points out, though, the real story here was the texture: "Farhi likes to experiment with her textiles, and the first hint that she had a few of those tricks up her sleeve this season appeared in an oversize mesh tank top covered all over with sequins. Then there was the micro mesh, printed in a rich floral pattern and layered over colored fabrics that made the flowers pop. Mesh-faced garments such as a greenish pair of boy-cut trousers and a fuchsia-toned top looked beautiful from afar, and a little blurry and strange up close; the effect wasn't unlike coming upon a pointillist painting by Georges Seurat, and watching it take shape and dissolve again before your eyes as you shift perspective."

there were occasionally some hints of the japanese as well, the stiff belts folding like obis and sculptural lines of a dress folding out to resemble architecture or perhaps origami.  both vogue and wwd got a little snappy when the designer shifted too far in this direction, however, although the latter tended to be a little more forgiving, opining "(w)hile at times the cocoon shapes and dramatic volumes overwhelmed the models, sculptural coats and trenches with full sleeves and cinched waists were fetching." 

the show's beauty looks recaptured that exuberant sportiness we've been seeing elsewhere, with grazia reporting that ms. farhi's runway has been the second to give models freckles this season (after jeremy scott).  my daily adds that makeup artist charlotte tilbury tried to keep the aesthetic simple and away from fighting for attention with the clothes, but opted to give the girls  a "matte coral lip (made up of three shades: red, orange and white)", says grazia.  meanwhile, hairstylist sam mcknight pulled hair back into a sharp ponytail, affixed away from the face and completely frizz-free. 

there may have been a few complex messages in the collection, but what i find rather humorous is in the way some critics react to it.  after cathy horyn complained about designers not taking enough risks with regards to the peter som show, we're now faced with some lamenting (as vogue quotes alexandra shulman as saying, "I prefer it when she sticks to what she does best") ms. farhi ought not have taken some edgier avenues.  in truth, it wasn't always a success, but at least the show retained one's attention, and there were plenty of good and wearable looks offered here, probably speaking to more of a range than most (read: young) do. 

(see the final-walk through runway video here)

[oneporktaco-blog]

nyfw: 3.1 phillip lim

(images via style)

opt hasn't followed 3.1 phillip lim all that closely in the past (see resort 2011), but his quiet s/s 2012 range, presented at new york fashion week, seemed as good as any a place to become reacquainted.  as style pointed out, the designer took a much softer approach to the season than we've seen elsewhere, with a certain sleek touch that "leaned to nineties Helmut Lang and Jil Sander, which Lim didn't disavow when it was suggested." 

the actual inspiration for the spring show was the kite.  "Lim used to make his own kites as a kid growing up in Orange County, California, so he’s aware of the necessary balance between airy fabric and tension or weight," wrote vogue, while the wsj pointed out that "(s)everal looks had what the designer called kite backs, like tops with tails that blew in the wind. There were even flowing kite dresses and shirts. But not voluminous flowing, structured and tailored." 

the telegraph announced that the show was all "clean lines, sophisticated tailoring and neutral (yes, I can hear you saying "safe") colours," but perhaps all these notions are leaning the reader towards expecting the clothes to be boring.  and that would be an unfair description.  for example, the colours, in any other season but this, might have been viewed to be downright lively (if, okay, for the most part pale): peach bellini, lilac, bright white, black, khaki, ice blue, pale yellow, ballerina pink, heather gray, and indigo (which mostly manifested in the form of quite a pretty abstract print). 

in fact, wwd called the collection a "sporty minimalist" one with "loose, racer-back tanks and lanky track pants that zipped up the sides, some that concealed or revealed a stripe," while style opined that "while this look was soft, it wasn't sweet."  it might take a few viewings to recognize it, but there could actually be a more subtle version of those aforementioned tougher designers (and rick owens, whose name the telegraph happened to broach).  as style writes, "Lim says his guiding principle is 'sophisticated youth.' Backstage he pointed to model Dempsey Stewart in her own chic navy mesh pullover and black jersey skirt to illustrate what he meant. She was ready to hit the street, and that was the point."

(see a short video, complete with commentary & runway, here)