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The StyleForum Runway & High Fashion Thread - Page 8

post #106 of 1124
Thread Starter 

Sufu is all over the tech ninja stuff but oddly I haven't seen too much of it on SF.

post #107 of 1124
^ Well, that's the point.


I've been mulling over getting those Aitor pants for so long now , I just can't justify it without seeing them in the flesh first... He really needs to make some kind of full-fledged buyable collection one of these days, I suspect he doesn't really care for that kind of thing though.



Detail
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Edited by sipang - 4/3/12 at 10:45am
post #108 of 1124
ive always wondered what the "sole" of those foot attachments were made of..

i dont think id wear them like that on the street for fear of putting a hole in them shog[1].gif
post #109 of 1124
I would have pulled the trigger on the trumpet pants that Darklands had but they didn't have my size any more.

I guess all the stuff that was available was really just prototype stuff anyway so it may not have been built with durability in mind. Not completely sure though.
post #110 of 1124
I believe it's a leather sole so I guess it'd be alright durability-wise although maybe not that practical. I wonder how easy it'd be to get the fit right on those given the "anatomical" details, Trumpet pants would probably be the wiser choice there.



* * *




My knowledge of Jean-Paul Gaultier is pretty much limited to the The 5th Element costumes and Madonna's cone boobs.


And this.


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Originally Posted by source View Post

The alliance of Jean Paul Gaultier with the modern dance choreographer Régine Chopinot - a partnership that reached its summit in the 1980s - opens a window on two worlds: the breezy Atlantic shores where Chopinot's dance atelier was installed at La Rochelle and where she stored the costumes; and the fantastic imagination of Gaultier.

"Jean Paul Gaultier/Régine Chopinot, Le Défilé" (until Sept. 23) was inspired by the donation of the dance artist's wardrobe to the museum and the enthusiasm of the curator Olivier Saillard to resuscitate a forgotten fashion moment. "Le Défilé" or "fashion parade" took place in 1985 and, as its filmed version shows, was a breathtaking pas de deux of two great talents.

The 12 dancers, with two actors and two models, enacted a series of scenes. But the titles, from "Windows on the Body," through "Manque d'Air" or "Breathless" (for crinolines) and "Giant Underpants," only begin to explain the intricacy and the daring of the project.

"They were fashion costumes with a touch of lightness - and I was surprised by the quality of the execution," says Saillard. The curator also points out that other early Gaultier ideas, such as the tulle lumps extruded from tailored pieces, were in tandem with the work of Rei Kawakubo of Comme des Garçons with the dancer Merce Cunningham; and that the clipped topiary of the 1985 défilé could be compared to Hussein Chalayan's vision in the 1990s
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Gotta love a The Residents soundtrack.




Edited by sipang - 4/3/12 at 3:43pm
post #111 of 1124
Thread Starter 

garethpughandmichellela.jpg

post #112 of 1124
They've probably had the most unholy threesome of all time.
post #113 of 1124
Thread Starter 

He's kinda fell off a lot, his older shit was awesome.

 

00070m.jpgGP3.jpgl_c133a768e79ebe68276191cb22f2246e.jpg

 

(think this one's newer)

abre-gareth-pugh-figurino-royal-opera-house.jpg

post #114 of 1124

That last one is a costume he designed for a new jukebox ballet that's showing at the Royal Opera House in London, AFAIK

post #115 of 1124








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Quote:
Originally Posted by Glenn Martens Is Primitive, Not Simple View Post

"There's nothing simple about my clothes," says Glenn Martens, the 28-year-old Belgian designer who launched his eponymous line of womenswear this year during Paris Fashion Week. "But when you wear them, you won't look like some kind of crazy person," he laughs. The designer's architectural breakout collection may be devoid of frills and thrills, but there's indeed nothing simple about the intricate pleats, strong lines or cleverly placed zippers on Martens' voluminous jackets, skirts and trousers. And the designer's minimal approach to elegance, unexpected fabric choices and couture-level attention to detail, which he learned from Jean Paul Gaultier (more on that later), exemplify a refined approach to easy, feminine dressing.

Martens is heavily influenced by his hometown of Bruges, which, once a medieval metropolis, is half stuck in the past and half overrun by modern tourism. "It's a very interesting duality because you live in the elegance of this old city, but then there's all these neon lights and Christmas shops that are open twelve months a year," explains the designer. "But there's this melancholy and this sense of something ugly that's become beautiful, and I tried to express that in my collection."

Eerily cool with his rock star good looks, razor sharp jaw, scruffy beard and an antique earring (an heirloom from his great grandmother), the Paris-based designer recalls that he was seven-years-old when he first encountered high fashion. "I saw a Mugler haute couture dress made entirely out of feathers in one of my mother's magazines. It was crazy." However, despite his young eye for couture, Martens went on to study languages and interior architecture. "Growing up in a small provincial town like Bruges, I was never aware that "fashion designer" was a job."

It was on a whim that Martens applied to the prestigious fashion program at Antwerp's Royal Academy of Fine Art. Not only was he accepted, but he finished at the top of his class and was instantly scooped up by Jean Paul Gaultier after graduation. "Something I really learned from Gaultier is the feeling of handcrafted couture. I was doing pre-collection and the men's collection, but in those last few weeks before the couture show, everybody works on it. And it's amazing to be on a team working on all these handmade things," he says, adding, "This approach to design is very important because handcrafted pieces are closer to art than fashion. Things done by hand have so much more emotion and personal energy. And I learned that from Gaultier."

Martens, who also worked with independent designer Yohan Serfaty before launching his own line, placed a strong focus on solidifying his identity in his debut collection. "This collection marks the beginning of my identity, so I dissected my personal tastes—everything I love, from art to music to movies—and everything seemed to point back to the city where I grew up." Bruges' Gothic architecture is apparent in the strict lines of Martens' wool, silk and cashmere collection. His layered looks and elongated silhouettes are effortless, despite their often intricate construction. For example, his pants are flat in the front, but create the illusion of a perky posterior via skillful nips and tucks. "Everybody has to have a nice butt," Martens says with a grin.

Bruges' abovementioned high/low duality appears in a play on hard and soft—boxy tops and trousers vs. stern but fluid frocks—and seemingly contrasting combos, like an organza dress with a thick elastic drop waist, or the platform trainers that he pairs with each look. Martens's muted palette of grey, midnight, powder blue and bone was inspired by the art of the Flemish Primitives, specifically Hans Memling, for whom the designer developed an affection at the age of 10 when he viewed a retrospective of his work. And his knack for subtle details, like smartly placed slits that hint at sensuality, or the brass clasps on a moiré bomber jacket, which were sourced from a metalsmithing shop that once catered to the royalty of Versailles ("They're buckles of the king!" he jokes), is decidedly impressive for a first collection.

Most important for the designer, however, is creating looks that allow the woman to shine through. "Clothes have to be comfortable but creatively, I think it's very important that the woman comes out. That's why I like to work with vertical lines because they create an elegance that leads up to the face. You see the smile of the girl who's wearing the clothes," he says, noting that his fall woman is one with many secrets. He pauses for a chuckle. "But every woman has secrets, so really, my fall woman could be anybody."

Graduation collection (2008)

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post #116 of 1124
thanks guys for going to the effort to research all these brands. It'd be nice to think we start seeing more diversity in RP and WAYWT threads.

I know for one I pretty much only buy what I see on the internet. sad but true
post #117 of 1124

Raf to take over at Dior

 

It really is musical chairs

post #118 of 1124
From that article: "At his studio in Antwerp, where he has run a separate men’s wear business since the mid ’90s, [Raf Simons] often answers the phone himself." Where to get that number...
post #119 of 1124
It's in the phonebook.
post #120 of 1124
Quote:
Bernhard Willhelm’s Spirit of the Engineer underground show held at the Matsumizaka-Yoyogi Tunnel job site, 40m beneath the earth's surface.

The show was part of the 2005 Tokyo Tunnelix event celebrating the Central Circular Shinjuku Route and the and the 11km-long Yamate tunnel whose purpose is to ease traffic between the three major nodes of Shibuya, Shinjuku and Ikebukuro. The designs were inspired by Japanese construction worker uniforms and modeled by workers from the site.


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