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Undercover

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After the lights dimmed at Undercover, we assumed the finale had just occurred, but as gasps and exclamations echoed from the beginning of the runway, we knew we were about to witness fashion history. Three models were languishing down the runway wearing glow-in-the-dark birdcage dresses with live gardens and butterflies inside. The glasshouse 3D pieces are one of the most talked about moments of the season, so it’s to one’s surprise that the designer responsible is the ever-inventive Jun Takahashi. Even the harsh, fan-favorite critic @hautelemaude was impressed. Unlike the one-and-done marketing gimmicks we’re used to seeing from brands, the dresses seamlessly blended with the rest of the collection and its theme: the surreal contrast between dark and light. Backstage Takahashi shared that “He feels like he’s stuck in the world, but he wants to release himself.”

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This sense of existing in limbo was in the see-through veils and loose, feminine silhouettes that billowed like fading memories. The opening sheer tailored suits showed razors, playing cards, and flowers trapped in between the front and back layers. Georgette black suits, bedazzled spider embellishments, and faded t-shirts made the collection look like workwear rinsed in a cauldron. A somber color palette gave way to polka dots and bright yellow, followed by graphic co-ord sets of Neo Rauch’s paintings that perfectly conveyed that surrealist feeling. Tulle was everywhere; overlaying hoodies, as shoulder pads, and even crunched up as portraits from his first oil painting exhibition shown earlier this month, “They See More Than You Can See”.

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The ambiance further enriched the theme, with broken and lit chandeliers on the cement floor, low-pitched cellos obfuscating the background, and gifted scarves with folklore illustrations upon our seats. With ‘Deep Mist’, Jun Takahashi devised an ingenious moment amongst an already innovative collection. Flooding our feeds on day two of fashion week, this show will go down in the books.

Alexander McQueen

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A bittersweet moment for fashion, this season Sarah Burton presented her last collection for Alexander McQueen. After three weeks of back-to-back shows, it’s hard to draw an emotional reaction from saturated guests; and yet. Kaia Gerber and Naomi Campbell’s appearances already sparked cheers, but it was nothing compared to the hollers and applauds that drowned the room when Burton herself (for the first time in what seemed like forever) did a full circuit of the runway. In a plain shirt and jeans that gave no indication of the magnificent collection that had just preceded her, the designer blew kisses and hugged longtime industry friends like journalist Sarah Mower, making for a deeply emotional grand finale. In her 26-year tenure with the brand (half working closely with McQueen and half as creative director), she has been persistent in honoring McQueen’s designs while reimagining womanhood from her perspective.

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With ‘Anatomy II’, she delivered both a culmination and a retrospective of her work. On every seat, a departing note read “This collection is inspired by female anatomy, Queen Elizabeth I, the blood red rose and Magdalena Abakanowicz, a transgressive and powerfully creative artist who refused ever to compromise her vision. The show is dedicated to the memory of Lee Alexander McQueen, whose wish was always to empower women, and to the passion, talent and loyalty of my team.”

Kaia’s opening look set the tone, a corseted dress slashed with the first of many surgical cuts inspired by the ‘Hunger’ 1996 collection. Gold and silver embroidery substituted the violence and horror from the original pieces, instead celebrating the female body. Blood red, bone-white and black made up a very anatomical palette, all while referencing Britain and empowering women. Everything was a triple entendre; poppy flowers alluded to Tudor times, were printed in aquarelle graphics that degraded to blood stains, and became 3D dresses that petalled like vaginal folds. They were in shiny bustiers, sharply tailored mini dresses, and frilly embroideries on suits. The embrace of women’s bodies was also in the textiles printed with creations of Polish feminist artist Abakanowicz. Skeletons were reimagined in soft knitwear, where yarn bundled up as intestines and stitches and loops formed a feminine silhouette. Bones jutted out in the shape of sharp cutouts, tailoring flayed open with aggressive slashes as if it was skin or a reference to McQueen’s famed destruction of Saville Row tailoring.

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The show was filled with symbolism in a way we’re accustomed to seeing from Burton, an exquisite end to a respected and historical chapter in the legacy label–and fashion. The show was a melancholic and beautiful moment in itself, making us grateful to have experienced her touch at McQueen in real-time.

Mugler

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From the very beginning, Casey Cadwallader’s arrival at the Maison has stirred up a lot of drama: Thierry Mugler superfans desperate for a comeback of his Vegas-style spectacles, high-brow editors frowning upon the brand going commercial, and an unexpected fervor from the gen populous (his H&M collaboration sold out in 8 minutes). It makes sense then that with this collection he’s leaning into the newly-found mass media appeal and away from haughty fashion critics. “We’re kind of an emerging brand in a funny way”, he chuckled at the show’s preview.

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The show still clung to the theatrics Mugler was famed for (maybe because of this), but he gave it a showbusiness spin. Cadwallader even included the one-hour delay and throngs outside that are surmised before a spectacle. His fear of being too ‘costumey’ now assuaged, the designs were inspired by his love of octopuses and jellyfish. Large fans and bright lights turned the stage into a very dramatic wind tunnel. And the cast? He gave it the star power usually reserved for a Broadway production. Celebrities and supermodels alike walked the show, earning whoops and delighted gasps as they walked. Paris Hilton, Angela Basset, Helena Christensen, and Aber Valletta walked alongside Irina Shayk, Kai Isaiah-Jamal, Paloma Elsesser, Adut Akech, and Alex Consani. Phones and smiles were just as high when jersey garments billowed as if underwater and body-con dresses had seven-meter-long chiffon trains rippling like tentacles. Signature spiral-cut jeans and corset jackets were patterned with polka-dots and ombré sprays inspired by sea slugs, while sequined sheer bodysuits glistened like fish scales. Those weren’t the only classic and archive pieces given the aquatic treatment: elegant coats inspired by the SS97 collection had fringes inspired by jellyfish, resin body plates became exoskeletons, and tulle sleeves and trousers gave the illusion of SS99’s ‘floating’ tailoring. The show delivered one of the biggest spectacles of the season and served as an identity reset, proving that the new, more commercial Mugler is successful– and not going anywhere.

Y PROJECT

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After hosting a 6,000-person rave in Milan for the Diesel show, pressure and anticipation were high for Glenn Martens’ Y Project show. The standing-only room front row was crowded with the same young stylish people gathered outside the venue, making the inside look like superfans had sneaked past security and PR instead of invite-only. And with Martens’ reputation as fashion’s newest wunderkind, they might as well be crazed fanatics.

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The collection was based on the fabric manipulation of denim, a material at this point synonymous with the Belgian designer. It was twisted, frayed, and saturated in fierce shades of lavender, yellow and red. They made up scrunched dresses, crumpled boots, and even hooded shawls. Denim became transformable and appropriate for every occasion, a concept some might remember him pushing since his earlier years. Although it began as a way to send the same look down the runway twice, this revolutionary concept is taking a firm hold on fashion now. From stacked trousers and scrunched-up bags to jackets zipped up to make a Y-shape, we won’t be surprised to see his innovative draping at Zara or Shein in a few months (unfortunately maybe days for the latter). This particular collection was inspired by the Gothic architecture of his hometown, Bruges. With it, he finally gave us an insight as to why he chooses denim: “In Bruges we have the tallest Medieval tower that’s made of bricks. It’s nice that the material they were using is basic bricks, unlike in England or France who were using ornate stone. The material that we use is very basic and archetypal, cotton and denim, but from them we create these constructive twists.” Even if the triad of models wearing fake serpent necklaces around their necks were the most talked about looks, it’s the cementing of the denim-is-fit-for-all revolution that made the show so significant.

^{Words by Alexia De Las Heras}

^{Header Images by @kaiagerber @yproject_official & @undercover_lab}

The post The Catch-Up: The PFW Shows Making The Most Waves appeared first on Voir Fashion.

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The LINO womenswear show started off in classic Owens’ doom: a demonic melody played as obsidian ensembles opened the show, the Palais de Tokyo setting shrouded in artificial fog. But as soon as colorful petals began falling from the sky, we knew something was different. Sure, they were in reference to when Roman Emperor Heliogabalus notoriously suffocated his guests with rose petals (‘I didn’t have enough of them to kill everybody’ said Owens), but an uncharacteristic positiveness was in the apocalyptic fog.

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The distorted song revealed itself to be Diane Ross chanting ‘I still believe in love’, the fragrance from the petals pleasantly lingered, and the fog was in bright shades of pink and yellow. The inspiration behind this change was Bjork: ‘I went to (her) concert and her intelligent, life-affirming energy made me kinda embarrassed of my own mopey adolescent pessimism.’ said the designer.

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That’s not to say that the show wasn’t Owens at its core. The opening looks established a black theme filled with skin-tight silhouettes, long leather skirts, and structural jersey draping that remained a theme throughout. Models wore alien-like black contact lenses and slicked-back hair with micro bras, oversized gloves, and shaded sunglasses. Wastlines were high and hemlines were low, complete with the brand’s signature pointed shoulders.

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But then entered this utopic hope. Pink, burgundy, red, and brown reiterations of the black getups appeared, with delicate wedding trains and capes substituting sheer funeral veils. Then came silk garments billowing in the wind and the ‘donut’ gowns we saw last season– puffball cylinder-shaped mini and midi dresses in toned-down pastels. It’s that same faith we had in the models, watching them brave through stairs and wind in sky-high platforms and orthopedic gladiator sandals.

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It was surprisingly refreshing seeing his usual structural artwork interpolated with more wearable pieces– we can’t remember the last time we saw Owens do cropped leather jackets, and his decision to use lava red is sure to bring in commercial success for the brand.

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In LINO he found a cautious sanguineness, making us see the beauty present on Earth amongst his signature melancholic futurism. There was no better way to show this than by using eco-friendly recycled yarn for getups that were perfect for an ecological apocalypse. The five final looks certainly made us think of doomsday preparation: differently colored hazmat loose jumpsuits covered every inch of skin. From beginning to end, Owens urges us not to ignore the bitter and harsh reality, and yet he inspires us to find the light in the darkness.

_{Words by Alexia De Las Heras}

^{Header Image by @ssense}

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From Nathy Peluso’s feature in the campaign, we are taking major inspiration from the chunky highlights and simple glam makeup of the rising Latin artist. Closing a flip phone with dramatically long, bright orange nails in the video, the model wears a block-coloured bikini coverup, splitting to reveal knee-length light, blue denim shorts. The shorts have been roughly cut to produce frayed edges, contrasting the elegant accents of dripping jewels. The light denim, slip-on mule heels and flowing cape-like top brings together lavish Y2K sparkles with the loud gold accessories and flowing fabrics of the 1970s. 

The show opens, like the campaign video, with classic, recognizable beachwear. Various shades of blue, patterns of waves, and flying birds are incorporated into the early outfits. Knitwear accessories have fun patterns of seaside scenes which emphasize beach holiday themes. Textured fabrics also make early appearances alongside beach looks. A rough, towel-like fabric is used to create an asymmetrical mini dress, paired with various woven bag accessories.

Photo Credits: GCDS Spring Summer 2022/ gcds.it

Slowly the simplistic beachwear turns into bold eveningwear, influenced by 1970s disco. A matching men’s suit with a black shirt printed with gold chains is paired with platform sandals and oversized sunglasses for a disco-ready look. This look revamps the signature Italian suits associated with Milan Fashion Week into a lighthearted, statement piece made for the dance floor. The matching women’s look consisted of a glittering halter-top and wide-leg trousers with GCDS monogrammed earrings and a round tortoise-shell handbag, looking equally disco-ready.

Continuing the journey through fashionable periods, a series of light blue denim looks appear with 1990s references and Y2K crystal detailing. The blinged-out circular bikini top monogrammed with GCDS instantly recalls the iconic teeny tiny Chanel bikini from Spring 1996. The low-waisted baggy jeans also recall 1990s aesthetics from American streetwear. Moving onto sweetheart necklines and an asymmetrical denim mini dress, the light-washed denim looks transition from the 1990s into crystallised early 2000s with sweet choker necklaces and chunky platform heels.

GCDS takes us on a time-traveling journey through fashionable decades for their Spring/Summer 2022 collection. From natural summer beachwear to 1970s disco, Karl Lagerfeld’s Chanel, the sparkling 2000s, and finally, consideration of what future fashion will look like. GCDS showcases the cyclical nature of the trend cycle, whilst providing chic and timeless pieces that have continued to trend since they were originally established in fashion. 

Words by Caitlin Sahin

_{Photo Credit: GCDS}

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Vinti Andrews Spring Summer 2021

In search of creativity during the lockdown, most designers and fashion labels have found inspiration closer to home than ever before – and Vinti Andrews is no exception. Drawn to the British seaside and freed from the ongoing pressure of a new season being just around the corner, the label has gone to extra lengths in maintaining their sustainable and rebellious ethos for Spring/Summer 2021.

Vinti Andrews Spring Summer 2021 London Fashion Week Film

Set in Torquay, the collection becomes a vibrant element of a very quiet and still setting. With their funky characteristics (the pattern of a pair of ‘80s curtains re-imagined or the Nike logo visible on a repurposed dress), the garments become an ode to youth, pop culture, and messy summer days at the beach. The label has focused on incorporating such elements thorough sourcing recycled fabrics, leftover materials, and garments from charity shops. It was a joint effort between Vinti Tan and Paul Andrews to build a collection from – now arguably- nothing.

“We really had no budget, so everything was on table in regards to the creative process. We were thinking about what we could do with just what’s in front of us, and our surroundings,” said Vinti Tan.

Vinti Andrews SS21

The answer to all questions came when Torquay became the source of inspiration for the collection. Vinti said: “I grew up here, so I have many positive memories, yet also I could not wait to move to London. Seaside towns are some of the most deprived areas in the UK, there’s nothing going on culturally, so you really had to make up your own entertainment here, there were lots of free parties/raves in the woods at the time in the ‘90s.”

Vinti Andrews SS21

Rebellious and reminiscent of the party scene, the video production presenting the collection captures the secret energy that can be found in this remote area. Torquay as a theme and source of inspiration became truly an authentic choice when the label decided to work with an all-local cast and crew. Instead of dreamy snippets of the sea and passive models, intrigue and interest were created through juxtaposed loud music and distorted imagery. These elements complimented the mood of the clothes, which show rebellion and creativity, and are ready to wear by an environmentally conscious Gen Z muse.

Vinti Andrews SS21

The collection is also pioneering the way luxury is being viewed today by the younger generation. Re-purposed Christian Dior and Armani could be spotted among the clothes, which shows that labels are today less important. The designers are making a conscious decision to maintain the brand’s sustainability ethos rather than feeding into the logo and branding Instagram-filled frenzy. Reflecting on what the Vinti Andrews garments represent, Vinti said: “I think that the Armani mixed buffy T-shirt cocktail dress is my favourite, as it tries to bring totally different worlds and designs together – the idea of bringing mature ‘90s Italian lux high fashion together with US teen TV culture, and making something new.”

Vinti Andrews SS21

And while the collection and the brand’s attitude towards sustainability have always been more than clear, the pandemic could potentially amplify the brand’s commitment to waste reduction in the long run.

“I think I will be less inclined to follow the track paths of seasons in fashion,” said Vinti.

Words and Interview by Emilia Roman

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The evening of 22 July 2020 saw the Dior 2021 Cruise Collection appear in a charming square at Lecce, a city-based in the southern Italian region of Puglia. In favor of an entirely digital display, Dior has risen to the challenge of a physical event proving in true fashion style that the show must go on! Only a limited audience were able to admire the work at this beautiful historical setting, but for the rest of us who tuned in to the digital stream, there was an abundance of culture taking us on a mesmerizing and magical evening in Italy, even if we were at home.

As the show began the atmosphere was more alive than ever. A subtle glimmer of lighted quotes framed the town square as a group of dancers stood still amongst the darkness. As anticipatory music began to rise a model could be faintly seen, an enchanting burst of colour lit the entire square: a captivating entrance for the 2021 Cruise Collection.

With its depth of culture and ancient traditions, the rural region of Puglia formed the inspiration for this collection. The blissful Italian landscape is illustrated through delicate longline dresses which are embroidered with flowers and wheat; their floaty skirts being accentuated with a brown bustier. An accompanying Christian Dior bag bursting with ears of wheat completes the look for those seeking that definitive rural Italian ambiance.

Dior Cruise 2021 Collection via Vogue

With models showcasing lightweight linen skirts, trousers and suit jackets we can only imagine roaming around Puglia on a warm Summer’s day. A versatile companion, the headscarf stood out as a charming addition to nearly every daytime look. For an evening rendezvous, the finale dress is sure to spark a romance. A delicate gown of burnt sienna is embellished with rural-inspired embroidery of flowers and animals, paired with a matching bustier, cuff bracelets and sandals. Of course, a gold tiara completes the ensemble; we would expect nothing less from Dior.

Dior Cruise 2021 Collection via Vogue

The highly intricate and skilled embroidery technique of tombolo is woven throughout Cruise 2021, the craft of local artisans forming a significant part of the collection. Speaking about the collection on the Dior site, Creative Director Maria Grazia Chiuri shares how “something that was very important to [her] was conveying how much craftsmanship value there is in Puglia and how important it is, especially for younger generations to reinvest in this”. With family ties to Puglia through her father, Chiuri shows support for the local community and a desire to celebrate the cultural traditions of the region.

Dior Cruise 2021 Collection via Vogue

According to Vogue, CEO of Dior Pietro Beccari also stated “We would like to send a message of support, hope, and rebirth to the world, to the big suppliers and the small ones. Many still don’t know how to survive, so this move is so important for the artisans that we need to preserve. We want to give them a reason to restart.” With ninety beautiful looks and a spectacular show, Dior has succeeded in the worldwide recognition of talent from local artisans, artists, musicians, and dancers.

The Dior 2021 Cruise Collection was an artistic extravaganza, and we can only admire how the collaborative efforts of those involved came together to host a wonderful evening of fashion and performance. I am sure we can all agree that this show stood out this season and is one we might just have to watch again…

Dior Cruise Collection 2021 via Dior Youtube Channel

Words by Brooke SavinoGraphics by Clare Stephenson

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