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*** Official F/W 2012/2013 Runway Thread *** - Page 57

post #841 of 903

 

 

Quote:
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I think this would look pretty good on a guy if you just swapped the skirt for tan pants (you could even keep the purple stripe redface.gif).

post #842 of 903
Quote:
Originally Posted by Desi View Post

Nah, bro. his menswear was just not that great.

Mostly I agree with this, but he had a couple really good collections, in my opinion. I posted pics from f/w2008 earlier that I really liked, for example.

Also, thank you to everyone who contributes to this thread. It's like a refuge.
post #843 of 903
Quote:
“It’s an idea I’ve had for a few years, about corporate clothes, and business-dressing. I wanted to play with it. So I imagined a company, Balenciaga, Inc., and what all the different women would wear to work there,” explained Nicolas Ghesquière, as he was preparing his show yesterday. “And we are inviting you to a real office in the Beaugrenelle business district, which was built in the emerging economy of the seventies through the nineties. They’re rebuilding the area.” So, bright and early this morning, the massed executives of fashion arrived to report for the Balenciaga corporate presentation for fall. In another of this season’s surprise breakouts into immersive experiences, they were whisked to the 27th floor of a glass skyscraper by silent ushers in futuristic jersey uniforms, there to enter a total Ghesquière headspace: a neon-lit “floating” office, located somewhere between the eighties and an edgy vision of what today might be.
Balenciaga (Click to show)

 

Ghesquière’s all-female organization marched in—a hierarchy cast as bosses in elaborate dresses with gold-lamé breastplates, middle managers in box-shouldered jackets, interns in sweaters and bomber jackets, creative renegades in pixilated graphic-patterned bustier dresses, techies in parachute-silk overalls, and a cadre of cultlike infiltrators wearing sweatshirts with slogans such as “Join a weird trip” and “Out of the blue.” (“They’re industrial spies,” he said jokingly. “They’re here to take over the company!”)

As out of the ordinary as the setting and the imaginative narrative may have been, as a collection it was, in the structural sense, Balenciaga business as usual. Ghesquière’s quest for new forms is a to-and-fro between conceptual cutting and a fascination with the generics of everyday life. Whether a complex dress or an apparently plain knit, everything is treated to an upgrade with uniquely developed fabrics that allow shapes to appear rounded yet sharp-edged, voluminous yet weightless. A dress can become a collage of deep-banded hems on sheer fabric, with a short opaque skirt beneath. Roomy jackets are squared off, with wide, flat integral flanges running up the sleeves and around the shoulder. Skirts hold a sharp A-line shape without pressed pleats. The compact knitting of an oversize turtleneck defies the bulkiness often associated with wool.

All this technical innovation puts Balenciaga in the forefront of experimentation, placing Ghesquière in a leadership position amongst many younger designers—who consciously or unconsciously assimilate what he does season after season. What none can ape, though, is the authenticity of the complete worldview which informs Ghesquière’s creativity: the autobiographical synthesis of early eighties French post-punk (Jacno, to be exact), the sci-fi imagery in the back of his brain (he quoted Michael Clayton and Spielberg’s A.I. Artificial Intelligence this season), and his interest in applying himself to what women around him might want to wear next. (The answer to the last: definitely the lower-heeled, pointed “business boots” in patchwork combinations of, say, violet jersey or crocodile and leather, and the pannier shoulder bags on abstracted guitar straps, as soon as possible.) To see it all, complete and in situ, took his thinking to another level.

 

 

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Sipang you didn't post this already did you? shog[1].gif

post #844 of 903
Nope, didn't post Balenciaga, wasn't feeling the collection to be honest, too 80's heavy for me


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Junya gets a +1 for the coats worn as capes

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Edited by sipang - 3/9/12 at 1:03pm
post #845 of 903
balenciaga shouldnt be spoiler'd smile.gif

i think ill just do the coat cape thing. i did it with the plokhov blazer already devil.gif
post #846 of 903

The hair looks like a mix of Dragon ball Z, Bleach and Naruto.

post #847 of 903
Let's wrap this up nicely




Trias


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post #848 of 903
*** POTENTIAL REPEATS BELOW SINCE I DIDN'T KEEP UP ***

Yohji Yamamoto - Autumn/Winter 2012-2013 Collection

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An army of vampires with an underground taste hits the runway of Yohji Yamamoto. The Japanese designer for next season wrap his models in multi draperied and hooded garments, mixing black with primary colors to get an outstanding synthesis of colors. The asymmetric dresses traced softley the contours of its wearer, while the structured accordion skirts redesign the women's silhouette graphically. The knitwear pieces and the carefully deconstructed jackets seem to have been realized with large and heavy blankets sewn together, completely surrounding the figure . Although keeping his own aestethic, Yamamoto is constantley innovating his designs, giving us another proof of his immortality.

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Rick Owens - Autumn/Winter 2012-2013 Collection

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Rick Owens' ritual is consumed in the middle of a flames circle, where savage impulses are trapped into rigid and sober architectural forms. Like modern Joan of Arc, the models come out from the cellar of a burning castle, wrapped in floor-skimming coats and floating tunics with spiraling seams, hiding their faces under knitted masks. Structured charcoal wool skirts are worn with streamlined garments, while the leather is sculpted into severe cropped jackets with curved shoulders. The luxurious materials are enslaved to a rough aesthetic, producing the raw and visceral elegance that characterizes Owens' designs.

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Glenn Martens - A/W 2012 Presentation, Paris

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The melancholic elegance of devotional Flemish painting meets the clean lines of Belgian design into Glenn Martens' debut collection. The designer presented his creations during Paris Fashion Week, in a dark and intimate loft space, far from the city's hectic times. The models were like the elegant madonnas of Hans Memling and Jan Van Eyck's triptychs, marching in strict and linear clothes while a baroque music was playing. The pleated column organza dresses were highly shaped but not too rigid, enhancing the graphic vertical cuts. In a game of wide and elongated silhouettes, the deconstructed jackets were paired with clerical inspired tunics and knitwear pieces in ethical recycled wool; while the metallic zippers and the platform sneakers added a sporty look to the collection. Glenn Martens gave an extremely original character to the minimalist aesthetic, blending classic elements with a fresh contemporary taste.

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Ann Demeulemeester - Autumn/Winter 2012-2013 Collection

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The Queen of Antwerp shines in the darkness, infusing a punk spirit in suggestive, timeless garments.
Keeping her sensual androgynous style, Ann Demeulemeester presents a runway of rebellious warriors, in which the Joan of Arc's ferocious passion and the inspirations drawn from the Navajo indian tribe are blended together violent through a violent whirl of sub-culture vibes. The stiffened sculptural leather neckpieces framed the face with their dramatically cut architectural structures. In a sea of ​​black silk asymmetric garments that slip on the body as liquids, a rush of midnight blue strikes strictly linear dresses and draped funnel-necked jackets. Ann's highly poetic and emotional approach to fashion once again does not disappoint, continuing, season after season, to astonish the viewers.

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Nicolas Andreas Taralis - Autumn/Winter 2012-2013

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Nicolas Andreas Taralis looks at the Japanese feudal periods of Akira Kurosawa's films to design a straightly dark collection for Blade Runner androids. The ancient uniforms of samurai are Taralis' starting point for the construction of sartorially impeccable coats and jackets, bounded on the waist as jujitsu kimonos. The experimentation with cuts leads the designer to extremely asymmetric solutions, such as pieces literally cut in half, perfectly balanced by a game of almost classical proportions. The long black dresses, made of thin and impalpable layers, are trapped by strongly carved jackets, preserving some references to Japanese martial arts as the quilted harness-like straps, but they seem to suggest the dystopian atmosphere of a sci-fi cyberspace. Nicolas Andreas Taralis confirms his highly sober and linear aesthetic, sometimes almost stoic, that never ceases to be a feast for the eyes.

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Damir Doma - Autumn/Winter 2012-2013 Collection

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Damir Doma reinterprets the opulence of Renaissance clothing through his minimal and essential taste. Drawing inspiration mostly from men clothes, he treats the historical reminiscences liberally, proposing bold solutions in a contemporary style. The court of Lorenzo the Magnificent hits the runway with its postmodern knights, wearing botton-front blouse and armor-like quilted leather tabard on top of fur jackets. An elegant noblemen shows off his long velvet coat with an Elizabethan flair, while a large gold cross hangs down on his chest. Gentlemen fit into crossover-waistband pants, perfectley in line both with the sixteenth century's garments and Doma's traditional aesthetic. The modern tailored jackets with leather inserts are paired with ultra-flat pointed slippers. Surfacing from a well of dark texture, the palette lightens through nuances of amber, dark carmine and copper. A burst of bright white, blush and cornelian orange diffuses a new romance throughout. Damir Doma builds a bridge between the two ages, raising the hope of a great renaissance in this crisis times.

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Aganovich - Autumn/Winter 2012-2013 Collection

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Futuristic atmospheres and avant-garde design are mixed with Japanese inspirations into the runway of the Serbian designer Nana Aganovich. Her Autumn / Winter 2012/2013 collection starts as a fantasy in white, sometimes crossed by thin blue lines, in which structured volumes and geometrically shaped technical fabrics seem to come out the door of a galactic spacecraft, momentary landed on earth. Slowly the black gets the control of the palette through optical contrasts, becoming in the end the dominant shade, as if Princess Leila were turned into Darth Vader. But beyond the sci-fi universe, the cutting and the wide proportions are a clear reference to Geisha kimonos. Although the two tendencies were difficult to blend Aganovich result is definetley superbe.

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post #849 of 903
Well, you ruined my exit. Thanks.



Glenn Martens looks nice, even more Belgians !
post #850 of 903
wow, aganovich. never heard of her redface.gif

NAT with that samurai topknot!!
post #851 of 903
I'm feeling the cropped top/long dress thing NAT has going on


This is nice too

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Edited by sipang - 3/12/12 at 10:48am
post #852 of 903
Some cool stuff from Agi & Sam I can see some members getting into

gGSgz.jpg

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Reminds me of http://www.thisiscolossal.com/2012/01/yayoi-kusama-obiliteration-room/

Some more looks
Warning: Spoiler! (Click to show)

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post #853 of 903
post #854 of 903
Apparently we're back



White Mountaineering


(more pics in the White Mountaineering thread)



Theme: The Airport



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Whiz Limited


(more pics on the Official Obscure High-End Japanese Trends thread)



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post #855 of 903
Thread Starter 
Thanks for the contribution. This is really GREAT. Sipang icon_gu_b_slayer[1].gif
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