Ann-Sofie Back, Fall 2008

Ann-Sofie Back, AW 2008, Over-sized Boyfriend Blazer and Shredded Black Thong Gown.

If public banality is the cornerstone of celebrity culture, then the French situationist, Guy Debord got it right in his critique of the media-dominated western society when he described the celebrity as “the spectacular representation of a living human being”. Kick starting London’s Fashion Week, Ann-Sofie Back’s A/W 08 collection pays homage to an unlikely source—-the pervasive presence of celebrity culture in our every day lives. Drawing inspiration from her three muses, Britney, Paris, and Kate, she re-imagines the spectacle by reworking silk lace drawn from thongs as decorative motifs on the shoulders, hem lines and knees of tops and camisoles, classically cut gowns, and tights.

Asymmetrical 1930s bias cut satin gowns, reminiscent of the Kate Moss v. Courtney Love fashion mishap at the V&A gala last year, are paired with an equally exaggerated asymmetric motorcycle jacket or tempered by an oversized grey peacoat. Back brings a slice of the voyeuristic world of tabloid culture in the pixelated prints of the OK! Magazine and Heat logos on t-shirts, dresses, and gloves, as well as in the accoutrements of piercings, à la Ms. Hilton, found on dresses and shoes. While the line was loaded with a dissonance of fantastic shapes, particularly with the over-sized boyfriend blazer teamed with a shredded black thong gown, there was also an element of the predictable…in the appearance of the cringe inducing, light stone washed jeans (go back to the 1990s!), raw hemmed tailored trousers, and strapless dresses. All in all though, Back infallibly delivers on making the sensational, a commercially appealing success.

Patty Chang

Ann-Sofie Back, AW 2008, Pixelated Shirt & Skirt

Ann-Sofie Back, AW 2008, Deconstructed Thongs Shirt

FutureFashion

Jil Sander organic cashmere caftan dress. Photo from Style.com

This review might be a week late (unfortunately due to an episode of food poisoning), yet I still feel that even after a period of rumination, I’m going to stick to my initial reaction on watching the FutureFashion show. Overall, I thought the looks were so successful that I left the show asking myself why aren’t these designers using sustainable/ethical fabrics at least most of the time? The roster of top models and designers, along with a star-studded crowd, combined to create an event that, on the surface, seemed more about the fashion scene than the serious topic of sustainability within the fashion system. Yet, rather than a mere green-washing effort, Earth Pledge and Barneys combined to create a potent opportunity for sustainable fashion to shed its crunchy overtones.

As the models came down the runway in no particular order, it was satisfying to be able to recognize instantly who created each look based on just silhouette and general feel. Twisted, clinging bias gown? Donna Karan, naturally. Pared-down effortless? Jil Sander. Impeccable, almost too-tight construction? Narciso Rodriguez. Flowing powersuit? Calvin Klein. This instant recognition is a significant indicator that a designer with a strong, clear vision can transcend the sustainability factor – just because a fabric is ethical does not mean that it is limiting.

As most of the designers stuck to a natural color palette, it was the few darker looks that I noticed most. The standout look due to its opposition to any preconceived notion of a “natural” aesthetic was the perversely romantic outfit by Boudicca made from PLA (corn polymer). As a color contrast, the ThreeAsFour dress rendered in white with a curved hem was a modern hint of the black shapes that would appear a few days later in their runway show. Martin Margiela’s corseted gown of reclaimed wedding dresses proved just how edgy patchworked lace and flowing skirts could be.

Overall, it is admirable the commitment Barneys has shown for ethical fashion. Earth Pledge (which owns the FutureFashion copyright) was wise to partner with them, not in the least because of the increased access to designers and heightened publicity for sustainable fabrics. Hopefully, each of the designers represented in the show will continue to work ethical fabrics and methods into their garments. As for now, you can see the looks in the Barneys windows at the corner of 61st Street and Madison Avenue.

Sarah Scaturro

Zero + Maria Cornejo Fall 2008

Zero + Maria Cornejo Fall 2008 (Photo from New York Magazine)

Maria Cornejo showed her keen understanding of garments’ construction partially achieved through a mastery of fabrics in her Fall 2008 collection. She divided the shows in five colour groups: “Red and Black and Check,” “Chalk and Grey,” “Black and Flourescents,” “Nomad Multi Colors” and, finally, “Midnight Evening.” Through her precise use of pleats, gatherings and folds—or to use her terminology “origami” techniques—the looks read as effortlessly chic, while the collection displayed a great ratio of black to vivid colours.

A particularly exciting moment was the satin fuchsia dress she sent down the runway at mid-show, which literally seemed to emanate light, as well as a more sportive look at the other end of the colour spectrum comprised of black jodhpurs and a simple black top. Also of notice were the horse hair necklaces which decorated many of the clothes (and were often dyed to match them). Reminiscent of actual hair and loose tresses, the necklaces added an interesting sexual punctum to the restrained sensuality of her work. Ultimately, what makes Cornejo’s work stand out—especially on this side of the Atlantic—is her ability to combine a level of simplicity (or perhaps clarity) with wearability and experimentation—a rare feat which few designers can be said to achieve.

Francesca

Three as Four, Fall 2008

Three as Four, Fall 2008 (photo from New York Magazine)

I found it hard to be won over by the Three as Four show, as I personally thought the abundance of black made some of the intricately cut and intelligent pieces look less appealing and somehow slightly dated. (I can’t help but strongly associate all-black-looks with a 1990s idea of elegance and avant-garde.) What I found most interesting was the sharply tailored trench and vests, which were constructed around elongated oval shapes that left the sides open. Curved shapes returned in the rouched skirts and the interestingly rosette-like rouches at the hems of some of the dresses. Also appealing was the grey wool lurex fabric used for the outerwear, which combined elegance and experimentation.

Francesca

Patrik Ervell Fall 2008

Patrik Ervell Fall 2008 (a look vaguely reminiscent of Ian Curtis)

The Patrik Ervell menswear show had a modernist vibe, as it took place in the Pier 59 studios. The space was a white cube with huge windows overlooking the Hudson, and the runway floor was covered in gold reflective paper which recalled the fabric of the looks at show’s end. I was reading T’s blog account of Ervell’s show as awash with art and music types and was impressed with T editor Horacio Silvia’s ability to recognize the members of Grizzly Bear and Hot Chip. I believe I have seen both bands in concert and yet have no recollection of what they look like.

The clothes seemed precisely tailored and clean in a way that was not at all boring, but rather subtly researched. That, combined with the skinny silhouette, was reminiscent of Raf Simon’s work. I most enjoyed the first part of the show, with the more muted color and particularly the navy looks which went really well with the simple canvas shoes. Also interesting were the double-hooded looks, as well as the final looks which were articulated around gold synthetic fabrics. The reported presence of band members and art types in the audience seemed to have been in tune with the vibe the clothes gave out which—at least according to Jay, who gave me a live commentary—reminded him of: “A Wes Anderson movie extra,” “a member of Blur circa early 1996” and “Ian Curtis shortly before he hanged himself.”

Francesca