Sensual.

 

 

 

 

 

 

 

 

Kate Moss, Lea T, and Natalia Vodianova for Love Magazine S/S 2011. Absolutely phenomenal editorial. Full Editorial Here

Abstract

We tend to think of abstraction when referencing art, but much of the enigma and intrigue that comes from Miuccia Prada's design is due to her abstract touch. None of what she designs is ever a literal interpretation of her given inspiration.  This is what makes her so powerful season after season as a Designer from the audience's perspective, as well as that of the consumer. Miuccia Prada finds an inspiration, an idea, and it is ran through her filter. Season after season we are challenged, and often awestruck. Prada's Spring 2013 Collection was no exception- heavy on the Japanese influence, yet executed in the same dark, slightly moody and introspective way that has become a Prada signature, we saw a dress reminiscent of a Kimono (print of a Japanese flower included) done in an abstract way. Where the Kimono would have yards and yards of fabric twisted and folded into shape, the Prada Kimono was a dress with cocoon sleeves, and two asymmetrical panels of fabric on the dress in the shape of a Kimono. Everything was more sparse, and more scientific. The Tabi sock was worn on its own as a shoe, or when paired with the Geta sandal, the Tabi sock was a hybrid of a sock, the toes and upper part of the foot left exposed (almost taking on the effect of a leg warmer).

 Interestingly enough, the Kimono was almost dissected throughout the entire Collection. Elements of the Kimono were taken and applied to different exits throughout the show. One being the obi; Prada's obi wasn't fabric wrapped and padded around the waist but a top cut away and padded from the body so that the effect of the excess fabric was still present. Also prevalent in the Collection were the use of red and white, colors very significant in the Japanese culture. As the Collection progressed, those patchwork flowers evolved into Prada's beautifully muted and digitized prints.

I wonder who Miuccia Prada designs for. Such a deep, complex thought process always translates into interesting and complex clothing that never feels overwrought, rather intellectual and abstruse. Miuccia Prada's designs are a direct correlation to the formulation of her thoughts,theories, but are never concrete themselves. They seem to come to her just very briefly...

 Prada Spring 2013 Collection

 Photos: Style.com

A Focus

'When you set a path and purpose you can clearly understand the things, relationships, and collaborations that belong in your life and career, and these are the ones you seek... The rest you let go' -Dianne Aiello

Photos: Dree Hemmingway

 Sang d'Encre

A World Apart

So much of Lee McQueen's blood runs through Sarah Burton's veins. Since taking the reign at Alexander McQueen, Sarah Burton has pushed the McQueen house forward, maintaining an enigmatic connection with Lee McQueen's design aesthetic, and presenting collections that have that same other worldly quality as Lee McQueen. Burton's Spring 2013 Collection was no exception; Honeycomb cutouts and patterns ran from the veiled Beekeeper's hats to the patent leather heeled booties and thigh-high boots, and in between on the peplum suit jackets. The patterns weren't just limited to Honeycomb, small Bumblebees were also seen throughout, and the tortoiseshell chokers and cuffs were decorated with Bee pendants. Sound a bit dizzying? Tops were netted, corsets and crinolines were left exposed, the silhouette still very much rooted in the 18th century with variations on a leg of mutton sleeve, or a full skirted dress.

Lee McQueen's legacy lives on through Sarah Burton, yet where at times Lee McQueen's designs were violent, angry, or restless (never misogynistic) while heading McQueen, Burton's design has exhibited a sense of ease, and calm. Her direction has given the company a new life while maintaining the Alexander McQueen DNA.

 A World Apart 

Alexander McQueen Spring 2013

Photos: Style.com

Modern Romance

I'll always dream of the world and what it could be, what it once was...what it used to be. 

Photos:Fashiongonerogue.com

Fusion.

Raf Simons' hand is very obvious in his design for Christian Dior. There was a fusion between the classic Christian Dior elements (his reinterpretation of the Bar jacket, the longer, sleeker New Look dresses Simons sent down the runway) and his more streamlined, futuristic vision-the gold and silver metal inset belts paired with a few of the dresses, the pointed toe pump and cigarette trouser, as well as the models' hair and makeup-a colorful winged liner and sleek, straight hair with a middle part felt very much like Simons. Where the collection felt strongest was in the architectural execution of the pieces. The stiffness of the New Look dress designed by Christian Dior gave way to something softer and more fluid. The fur dresses added beautiful texture to the collection, and while the collection was solid, overall it lacked imagination and excitement, which may be attributed to the fact that Simons attempted to replicate too much of the Christian Dior design. The set was an homage to Christian Dior's love of flowers, and Simons used the Dior silhouette as a guiding light for his designs, infusing his touch onto the design, but there was no evolutionary approach given to the collection. The themes explored felt repetitive, and missing from the collection was a sense of balance. Simons brings a different energy to Dior than that of Galliano. Where Galliano's excess and exuberance gave the house life, Simons exhibits a quieter confidence and budding strength, which may prolong the vision of Christian Dior, but only if Simons learns to trust in his own vision.

Photos: Style.com

Let It Be.

Aline Weber for Numero Magazine

Photography by Liz Collins

Full Editorial Here

An Ethereal Beauty

Dree Hemingway ♥

Photos:Models.com

A Reflection

So much has changed. Within the Fashion Industry, as well as in my life personally. I have spent much of the year writing, and re-writing posts for my blog only to end up deleting the drafts later on, losing the ability to hold on to a passing thought and allow it to grow into a theory or revelation the way I was once so skilled at doing. When exactly did I become so detached? Where have I fallen off? I realized that my focus has changed. I have changed. This blog that used to exhibit so much of my discovery of Fashion had begun to mold itself into the Interpreter that I had unknowingly become. It had begun to reflect the themes that inspire me while I was still attempting to hold on to the voice that had started this blog. That voice had changed, grown, and molded itself into who I am now. I realize that I am still very much inspired by the story that Fashion can tell. I am still drawn to the purity of Fashion Design, and still motivated to learn, and work within the Fashion Industry. Moving forward, I hope to re-establish the connection to my blog. I hope to have a deeper and more innate understanding of the complexity of the Design process, and I hope to connect with my audience as we watch the growth and evolution of the Fashion Industry together.

Photo: www.Fashiongonerogue.com

All Things Beautiful.

A spirit.

Raquel Zimmerman Vogue Paris April 2006.