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The StyleForum Runway & High Fashion Thread - Page 65

post #961 of 1124

Stephen Sprouse

 

Trained under the expert hand of Halston, Sprouse transformed into a cultural icon during the maelstrom of the Reagan era by mixing “uptown sophistication in clothing with a downtown punk and pop sensibility.” Shrewdly noting that in our pop-culture obsessed society where MTV ruled all trends are consumed and tossed at a quicker rate, we’re all due for reinvention much more frequently than before. He tossed psychedelic, love-child references from the 1960s and 1970s into his early collections, while his later work in the 1990s and 2000s (including collaborations with Target and Louis Vuitton) smacked of the neon-hued, broad-shouldered eighties. (from Hyperallergic)

 

 

 

 

 

 

 

 

 

post #962 of 1124

 

 

This is wonderful

post #963 of 1124
This video cannot be embedded

http://vimeo.com/34750839
post #964 of 1124
undercover womenz 2013 fall
i alomst like this as much as the thom browne collection
http://vimeo.com/61067242

post #965 of 1124
WE MAKE GIMMICKS NOT CLOTHES
post #966 of 1124

Gareth is out Theyskens-ing Theyskens. Probably the best stuff he's done since AW11

post #967 of 1124
Decided to make individual threads for each collection, feels right
post #968 of 1124
Quote:
Originally Posted by source View Post




Veronique Branquinho’s eponymous label was always less about lofty concept and more about “being”. Rising in the late 90s alongside other Belgian names such as AF Vandevorst and Xavier Delcour, Branquinho reached such heights that she had an exhibition dedicated to her at MoMu in Antwerp in 2008, titled Moi, VERONIQUE BRANQUINHO TOuTe NUe. Plaudits didn’t keep the wolf from the door after the financial crisis hit though, and she took a break from her own label after AW09, working as creative director of Belgian leathergoods house Delvaux for a period. After experiencing the desire to see her name sewn into the back of garments again, she is relaunching her womenswear line for SS13. It’s more “elegant” than before, but still with a tension of masculinity, a sharp black suit worn over a bare chest puncturing the season’s copper story. Perhaps the most appealing thing about Branquinho is her mindset – she makes desirable clothes that don’t overtake their wearer. Because people are complicated enough.

How does it feel to be back with your own label?
It feels good. I’m really happy because when I stopped three years ago, in 2009, I really was fed up with it, because it had been really difficult, too complex. It was good to have some distance. Then I did a lot of travelling and was busy working for other companies. But it’s not the same as doing your own thing. After two years, I started to miss doing my own collections. I’ve now got the chance with (Italian manufacturer) Gibo, so I’m a happy woman.

How was working at Delvaux?

It’s a beautiful company with really nice craftsmanship – I’ve always liked traditional craftsmanship. I learnt a lot of things, so it was good. But a bag cannot tell the same story as a whole collection.

Has fashion changed much since you were last at the helm of Veronique Branquinho?
The fashion world is always changing and evolving. I think the climate is still very careful, in general, but people still want to believe in fashion and dreams and you can feel the persistence of that wish, which is great.

What about the SS13 collection?

A collection for me starts with a mood or atmosphere. I wanted to show something energetic and clean, to start again with a blank canvas. To have a very clean, forward mood.

Copper is new for you...

Yes. I was very intrigued by natural materials, like copper, like the tigereye stone. Not like when you think about copper plates on the wall – that’s a bit old. But I like the material because it’s been left alone for a long time. Gold is beautiful, but has been abused for so long. I wanted to think about how I could translate it, and that’s where all the nudes and the tangerines came from.

Is the dichotomy of masculinity and femininity still important to you?
I’ve always been attracted to everything that is ambiguous. I really like the tension between masculinity and femininity. In my work it’s important to play with this, to take some references out of context and put them where you don’t expect them. You create an unexpected tension.

It’s reassuring to speak to someone who believes in the importance of the complexity of her client. Fashion can be very literal sometimes.
I don’t like it when the theme of the collection becomes anecdotal. I like it to feel much more complex, with a lot of layers, because that’s how I am as a woman. This is what I find attractive and what I want to try and put in my work.

Has your label grown up?
In terms of style philosophy, ‘grownup’ is a word that can be used. I was thinking about the context of my quote from 1999 (‘I like this black side of people. Black minds, black moods, black clothes: I like the word and I like the emotion. That’s what I try to reflect. It’s romance for the doom generation’). Dark moods are part of every woman – and I’m still in touch with this layer. That’s where you can see it; it’s all about evolution of me, as a designer and of the spirit of the time.

Do you have any recurring Influences?
Not at the moment. In the beginning I took quite literal meanings from influences, and they follow you for a long time. I’m still attracted to those things but it’s maybe not so obvious.

How did you get into fashion?
I was young, 14 or 15 years old. I discovered this Belgian magazine which doesn’t exist any more, Made
in Belgium, and there was sometimes an extra magazine with it called BAM (‘Belgian Avant-Garde Fashion’). It was made by young designers and students from the Academy in Antwerp, which at the time in the 80s was the Antwerp Six: Dirk Van Saene, Dries Van Noten, Marina Yee... I saw it and fashion appealed to me for the first time as a form of expression. This was the era of Mugler and Montana: you saw fashion on television and in magazines, but it was a far-away world. Along came this Belgian fashion, and I thought, ‘I understand this. This is close to me and this is something I would like to do, expressing myself through this medium.’ I then decided to go to art school.

What’s great about Belgium?
Well, my social life is in Antwerp. It’s really a village but it has the vanity of a cosmopolitan city. Which is great. You find a lot of stuff and influences, but at the same time, it’s quite small. Everybody is so busy with so many things, but when you meet each other it’s very creative.

Do you collect anything?
I try not to be attached to material things. But recently I’ve been very interested in modernist bracelets.

Is that something you’d like to develop as part of your own line?
Yeah, I’ve been experimenting. I made some with a Belgian jewellery designer and it was a nice experience.

In the past you’ve spoken about the allure of Jacques Dutronc and being a fan of the original Porsche 911. What are you driving these days?
I was so sad. I crashed that car about five years ago or so. It was a busy moment so I chose a solid replacement. I can’t say anything bad about my big Swedish car but it’s really not the same. It’s stupid, but it would be nice to have an extra one to cherish. The 911 is a classic and I’d like to have something vintage that’s not so established. Like a Toyota Supra or something. (laughs) That would be great.

Tell us something we wouldn’t expect of you...
I tend to believe that you can expect anything of me. I like the idea that I’m a free person and I can do whatever I want. I also like to have some mystery in my life and around my person. I like to have the liberty of surprising people. What are your ambitions for the label? Would you like to start menswear again, or have a store? For now, it’s important to develop the women’s collection. We have some ambitions to develop the bags and a pre-collection. I hope one day I can do men, because I really enjoyed it. When the women’s is going well, we can think about that.

What do you do in your spare time?
I like to go out into my garden and look for mushrooms. (laughs) Really experimenting. Sometimes I can define them, but sometimes I’m scared to take the risk and wonder, ‘Should I cook this?’
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post #971 of 1124
Quote:
Originally Posted by pickpackpockpuck View Post

The one that always draws me in is Dries Van Noten. There are times when I don't always love the stuff on the runway, but when I see it in person I really like it. If I had to pick one label to dress in it would probably be Dries at the moment. 

 

I've been looking at a lot of his past collections recenlty and am really liking Dries more and more. Maybe because much of his stuff is rooted in classic menswear and suiting. I guess until someone (ahem, sipang) starts a dedicated thread, I'll put this here. Autumn/Winter 1999-2000. Or what I call Zombie University. Don't know what the official creative brief was. There are some typical Dries touches like belted jackets and wide leg pants, but also some pretty cool cutaway military jackets, bathrobes, blanket cape wraps and arm warmers. There are even some King Julian length sleeves. Set to some Bach cello suite, I think.

 

DRIES VAN NOTEN AUTUMN/WINTER 1999-2000

(centered against my swiss modernist tendencies)

 

part 1

 

 

part 2

 

 

part 3

 

 

 

 

part 4

 

post #972 of 1124
needed an excuse to resurrect this thread and thought this collage was kinda cool showing the athletic wear (literally sportswear) influences in FW13. from here: http://garmentozine.com/


"Looks from the Fall-Winter 2013 season by Tim Coppens, Damir Doma, Patrik Ervell, Issey Miyake, Kris Van Aasche, and Lanvin."
post #973 of 1124

Love that stuff P4.

Can see myself wearing pieces from every look there.

 

Also, you were one of the few who appreciated Damir FW13, right? I understand the disappointment some guys feel about the collection, but there's a couple of looks and pieces I really like and could integrate in my wardrobe for once.

post #974 of 1124
FW13 isn't one of my favorite Damir collections, but I don't think it's terrible either. I think the biggest problem with it is that it has Damir's name attached, so people expected one thing and got another. I do really like that green/gold-ish tech fabric in the top-middle pic. There was a Jil jacket made out of something similar a while back that I really liked. But it's not very "Damir," you know?
post #975 of 1124
P4, you need to pick up an issue of Garmento and post a review
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