spring/summer 2014runway reviews

new yorkfashion week

theyskens’ theory Belgian born design Olivier Theyskens is recognized for his darkly romantic, almost Gothic aesthetic. His collection for Theyskens’ Theory this season appears to take a subtle step back from these usual themes and move toward something more

modest. Layers. The inspiration for this collection was drawn from the basics found in a woman’s everyday ensemble. Backstage he claimed, “It’s always a mystery to see the suitcases of my girlfriends; it’s all these silly tank tops, but girls put it together. They love layering.” (Style) The main focus was on the notions and essence of the everyday lingerie slip. This understated garment is timeless, ap-pearing throughout all decades as a subtle, barely-there, addition to more complex ensembles. For Spring/Summer 2014, Olivier plays on the layering and proportional

aspects of the slip and other basic garments. The collection experiments with these layers as we see tight tank tops squeezed over loose t-shirts creating a curious peplum, almost baby doll effect. Long skirts were placed underneath shorter ones giving an elongated and tiered look. The long, sheer slip dresses were found placed on top of shorts and tank top coor-dinates. The casual look of a rib knitted sweater was given an elegant remake as it is found over top of long narrow skirts with even longer sheer slips flowing

at the ankles. As this collection brings a subtle homage to the 90’s casual wear, it is given a more modern element with its use of impeccable tailoring. Stepping away from the typical monochromatic darks found in previous collections, we see color working its way through with pastel color blocked dresses. This adds a touch of whim-sy and femininity for Spring. Though Olivier had subdued the Gothic elements in this collection, a subtle grunge vibe is still apparent through some of the black

leather pieces. The looks Theyskens’ Theory have displayed this season can appeal to every girl. The casual, and minimal garments have a strong element of elegance that makes each piece so attractive to a woman. All of the garments have the strategic ability to be mixed and matched, and of course, layered. Olivier was complete-ly correct in what he mentioned backstage, “...girls put it together. They love

layering.”

works cited

1. Phelps, Nicole. “Theyskens’ Theory Spring 2014 Ready to Wear.” Style. 09 09 2013: n. page. Web. 8 Oct. 2013. <http://www.style.com/fashionshows/review/S2014RTW-TTHEORY>. 2. Fenner, Justin. “Theyskens’ Theory Spring 2014.” Fashionologie. 09 09 2013: n. page. Web. 8 Oct. 2013. <http://www.fashionologie.com/Theyskens-Theory-Spring-2014-Runway-Show-NY-Fashion-Week-31566106>. 3. Holgate, Mark. “Theyskens’ Theory Spring 2014 RTW.” Vogue. 09 09 2013: n. page. Web. 8 Oct. 2013. <http://www.vogue.com/fashion-week/spring-2014-rtw/theyskens-theory/review/)>.

delpozo

Madrid- Based Spanish heritage label, Delpozo, was founded in 1974 by Jesus del Pozo. The label relaunched itself last season under a new Creative Direc-tor, Josep Font. For his second collection with the label, Font drew inspiration from the 19th century painting “Portrait of a Gypsy Woman with a Tambourine” by Jean-Baptiste-Camille Corot. Typically combining multiple sources of inspiration,

Font also incorporated elements of stained glass found in cathedrals. The main element in this collection was Font’s play on volumes and propor-tions. The show opened with an ethereal and enchanting off the shoulder gown. This gown set the tone with its heart-shaped, off the shoulder top and full, voluminous skirt. Heritage-rich embellishments played a key role in this collection as mata-dor embroideries and tiered Spanish-style skirts appeared. Elements of the glass work within cathedrals appear through the neutral, pastel color palette evoking the magnificence of light. The neutral beige creates a basis for the lavender, green, and pink to be accentuated. This fairy-tale like collection evoked femi-

ninity through its soft nuances, delicate pleating, and sheer draping. This label bridges the gap between ready to wear and haute couture, falling within the category of demi-couture. The exaggerated volumes and grandeur found in the couture-like tailoring may not appeal to the everyday ready to wear buyer but elements within the collection such as the functional pockets, apron shaped dresses, high waisted shorts, and crew-neck fisherman sweaters can be a choice option for those unwilling to step inside the couture realm. The otherworldly el-ements are beautiful and so different from what we typically see in the New York market, but possibly the appeal can be found within that of young Hollywood and

the likes of celebrities such as Hailee Steinfeld, and Elle Fanning.

“Portrait of a Gypsy Woman with a Tambourine”Jean-Baptiste-Camille Corot

works cited

1. Palermo, Olivia. “Runway Report: Delpozo.” Olivia Palermo: Fashion Style. 09 09 2013: n. page. Web. 8 Oct. 2013. <http://www.oliviapalermo.com/run-way-report-delpozo/)>. 2. Adams, Brittany. “Delpozo Spring 2014 Ready-to-Wear Collection.” Style. 08 09 2013: n. page. Web. 8 Oct. 2013. <http://www.style.com/fashionshows/re-view/S2014RTW-delpozo>.

londonfashion week

mary katrantzou Mary Katrantzou executes a theme like no other in the industry. Her photo-re-alistic prints creating a trompe d’oeil effect through collaging and cropping are what her entire label revolves around. Collection after collection, her prints have a way of exciting and rousing a phenomenon in fashionistas worldwide. This season, she hit the hearts of fashion lovers and their favorite fetish with the

theme of her collection. Footwear. Not only did Mary Katrantzou focus her collection on the shoe, but she em-bodied the idiosyncrasies of the woman who wears them. We see a development and transition through this collection in three parts: the brogue, the sneaker, and the slipper. To open the show she begins with a focus on the tailored, masculine style of the brogue. These polished leather shoes consisting of eyelets, perfora-tions, and tassels embody a lush and sophisticated personality to her garments. These were shown as an exaggerated crop on more masculine, tailored silhouettes giving a very literal view of her footwear theme. It also inspired a clever patent paneled dress mimicking the leather tassels. There was then a shift in her col-

lection as it moved onto its next category: the sneaker.The high-tech, sporty elements of a sneaker were shown as close up crops focusing on mesh detailing and rubberized soles. These prints were shown on more muscular, athletic, and sporty silhouettes including a strapless, micro-pleated cocoon dress that created a “high performance” bounce as it went down the runway. (Tim Blanks, Style) To close the show, prints evoking slippers of the 1950’s-1960’s gave a more feminine, and frilly touch to the collections evening-wear. Dresses were given ruffled and embellished touches. The prints suddenly became more abstracted and less literal than the former garments as they turned to more embellishments and motifs. Interesting texture was created through vacuum sealed embellishments on the dresses. There was also a transition of color as they went from the dark, rich hues on the brogues to more bright and psychedelic tones on the sneakers and

slippers. This is a shift from last seasons monochromatic palette. A master at her craft, Mary creates curiosity and intrigue through every theme of print she creates. It does cause a concern as she has built herself into a small niche. While her prints are so popular, they are the only true appeal to her col-lections. It is something to watch for as there is a possibility of her popularity

narrows and the novelty of her prints begin to fade.

works cited

1. Palermo, Olivia. “Runway Report: Mary Katrantzou.” Olivia Palermo: Fash-ion Style. 17 09 2013: n. page. Web. 8 Oct. 2013. <http://www.oliviapalermo.com/runway-report-mary-katrantzou/>. 2. Mower, Sarah. “Mary Katrantzou Spring 2014 RTW.” Vogue. 15 09 2013: n. page. Web. 8 Oct. 2013. <http://www.vogue.com/fashion-week/spring-2014-rtw/mary-katrantzou/review/>. 3. Blanks, Tim. “Mary Katrantzou Spring 2014 Ready-to-Wear Collection.” Style. 15 09 2013: n. page. Web. 8 Oct. 2013. <http://www.style.com/fashion-shows/review/S2014RTW-MKATRANTZOU>.

jonathan saunders Jonathan Saunders claims that he wished to transition back to a sense of ease in the way a person dresses. That may be in throwing on a pair of comfort-able trousers and layering tops and slip dresses, much like we see in this seasons collection for Theyskens interchangeable separates. “I was thinking a lot about freedom, there’s a lightening up this season, a sense of a free spirit”, Saunders claimed backstage. (Sarah Harris, Vogue) Every sense of “free spirit” was explored

in this collection from silhouette to color story. Down the runway we see an infusion of florals but given new height through embroideries giving an hallucinogenic effect. This poppy repeat print was found on sheer paneled skirts and tops paired with satin collars. Silk shorts and skirts were paired with soft, suede paneled Jackets. Beautifully tiered summer dresses were given a feminine touch with drawstring ties and loose backs. The athletic trend made an appearance through slouchy tracksuit trousers with tuxedo stripes and Bermuda shorts that were given an elegant touch with satin fabric. The pop-ular bomber jacket found on this seasons runways also made an appearance but in satin with a graphic oversized poppy motif on the back. The overall aesthetic was youthful and sporty, yet given a feminine touch through floral embroideries and

appliques. The main statement in Saunders collection was his use of color. With a neu-rotic sense of color pairing, these bold hues give a unique quirkiness to his gar-ments. Making a commentary on his visions of a free spirit, his psychedelic color palette speaks for itself. Through the jewel and berry tones to the ombre dyed, and embroidered motifs, there is no sense of restraint this season. Not unlike Olivier Theyskens’ collection, these garments have commerciality and effortless through its interchangeable separates. All women can find that appealing. The only challenge will be to master Saunders’ expert color matching when styling these

garments.

works cited

1. Palermo, Olivia. “Runway Report: Jonathan Sanders.” Olivia Palerma: Fashion Style. 16 09 2013: n. page. Web. 8 Oct. 2013. <http://www.oliviapalermo.com/runway-report-jonathan-saunders/>. 2. Mower, Sarah. “Jonathan Saunders Spring 2014 RTW.” Vogue. 15 09 2013: n. page. Web. 8 Oct. 2013. <http://www.vogue.com/fashion-week/spring-2014-rtw/mj-saunders/review/>. 3. Blanks, Tim. “Jonathan Saunders Spring 2014 Ready-to-Wear Collection.” Style. 15 09 2013: n. page. Web. 8 Oct. 2013. <http://www.style.com/fashion-shows/review/S2014RTW-JSAUNDERS>.

milanfashion week

blumarine Here comes the bride, but this is not her first marriage. This time around, our Blumarine heroine reveals, quite literally, her new take on wedding attire. In Blumarine’s latest collection, Creative Director, Anna Molinari puts on more

than a show, but throws a party, a wedding party. Enter the maid of honor. Dressed in butterfly lace sheers and elements of coral and gold, the bride’s best friend opens the show. Next we see the bride, all of her. She cascades down the isle in a completely sheer floor length dress adorned with nothing but white floral and butterfly appliqués. The material ap-pears ever so delicate and fragile, yet underneath reveals a tight skin colored corset creating a sexy, but heightened beauty. Next we see the rest of the wed-ding party dressed in short cocktail dresses in fitted skirts of crepe de chine and satin. Others appeared with printed tulle or organza dresses with iridescent

detailing and jacquards. Of course, its never a wedding without a few bizarre attendees: a crazy aunt? The strange sister in law? These women show up in dresses such as a random ca-nary yellow skirt suit with a fuzzy collar, or an eye-popping, purple, polka dot number. The wedding is now over, and now the after-party begins. With a late-night look, revealing tops in midnight black are paired with black satin trousers. Long black gowns are detailed with Blumarine’s favorite embellishment of sequins, rhinestones, and ostrich feathers. To close we see sheers taken to the extreme as a floor length gown adorned with the smallest hint of embellishment makes its appearance, making the statement that it is time for this bride to make her way

off with her new groom. The signature elements of Blumarine are there: the embellishments, the heightened femininity, but this season it takes on a more aggressive approach. The romance is there, but it reveals itself more literally and boldly. With elements of the innocent, but also the provocative, it seems this collection has a devil on one shoulder, and angel on the other. This is more of a strategic asset then a con-fused mistake as it has the ability to appeal to a larger spectrum of women: The

good, the bad, but never the ugly.

works cited

1. Phelps, Nicole. “Blumarine Spring 2014 Ready-to-Wear Collection.” Style. 20 09 2013: n. page. Web. 8 Oct. 2013. <http://www.style.com/fashionshows/re-view/S2014RTW-BLUMARNE>. 2. Holgate, Mark. “Blumarine Spring 2014 RTW.” Vogue. 20 09 2013: n. page. Web. 8 Oct. 2013. <http://www.vogue.com/fashion-week/spring-2014-rtw/blumarine/review/>.

Marni

It is in the spirit of athleticism that East meets West in Marni’s Spring/Summer 2014 Collection. This season Consuela Castiglioni strays away from the typical 50’s-60’s domestic themes and ventures into new territory: Orientalism. Backstage, Castiglioni remarks she is “...keeping restraint and austerity as a

guiding principle...” For her collection this season. (Sara Mower, Vogue) As we see in other runways this season, the athletic theme is clearly evi-dent in the sporty visors, bomber jackets, and the unique platform flip flops used throughout the show. The bomber jackets, also found on the other runways, were

given a unique element when paired with intricate 3-D printed florals. Other organic elements were a common trait found within the graphic floral prints ranging from vines to petals and blossoms. A long breezy cherry blossom print dress gave a soft, romantic touch while juxtaposed with harder and heavier pieces such as thick, voluminous trousers with large cuffs. This mix of hard and soft was a common element as dense and raw cut chiffon ruffles were placed on the peplum of thick jackets. A subtly seductive sarong, long-line origami shorts, and

soft cotton organza dresses were paired with long belted jackets. While Castiglioni attempted to maintain an element of restraint in this collec-tion, that is hardly the case as it ventures into a subtle intricacy. The 3-D printed florals and dramatic volumes seen give the show a highly dramatic per-sonality. The beautiful day pieces such as the sarong, the flowy cherry blossom dress, and the belted jackets are highly wearable. These pieces can easily be seen

as a hit in this springs street wear.

works cited

1. Blanks, Tim. “Marni Spring 2014 Ready-to-Wear Collection.” Style. 22 09 2013: n. page. Web. 8 Oct. 2013. <http://www.style.com/fashionshows/review/S2014RTW-MARNI>. 2. Mower, Sarah. “Marni Spring 2014 RTW.” Vogue. 22 09 2013: n. page. Web. 8 Oct. 2013. <http://www.vogue.com/fashion-week/spring-2014-rtw/marni/review/)>.

parisfashion week

dries van noten In his previous collection of menswear Dries Van Noten looked to men such as Oscar, Wilde, Jean Cocteau, and Jimi Hendrix for inspiration. For his Spring 2014 Collection, it could be claimed that the garments evoke the personalities to that of these notorious men’s female counterparts. (Blanks) These women have free spirits and look fondly on adventure and culture, while they carry a simplistic,

and relaxed nature. The Collection opens with a simple cream tank top dress with golden ruffles lining the sides. This sets the tone for the show as this common element of simple fabrics such as linen and poplin juxtapose with subtle adornments and embellish-ments that create intrigue. This is a whole play on the juxtaposition of wealth against poverty. Pleats and ruffles appear as a common element in this collection.

Elements of gold and embroideries emerged on pleated skirts and tops. Dark, damask tulips and overstated golden ruffles make a common occurrence through the collection. Large coats and wide leg trousers are found in interest-ing fabrics and textures. Tassel- fringed knits appear to close the show stra-tegically giving a good transition for his next collection, as he is typically found to do. The collection gives an homage to his typical theme of travel and ethnicity. Intricate carpet-bag, and ethnic prints subtly appear on blouses and trousers. There is a subtle darkness in this collection through the grungy, and raw edge textures found on the ruffles. The color palette lacking much hue and

sticking to neutral accents give a opulent grunge. The commerciality is high in this season’s collection, with many wearable pieces found in the trousers, skirts, and printed tops. There is a good sense of inter-changeability that is perfect for who this brand appeals to. The kind of women who would wear these clothes is a world traveler and has a great spirit of adventure

and appeals to the accented simplicity found in this collection.

works cited

1. Blans, Tim. “Dries Van Noten Spring 2014 Ready-to-Wear Collection.” Style. 25 09 2013: n. page. Web. 8 Oct. 2013. <http://www.style.com/fashion-shows/review/S2014RTW-DVNOTEN>. 2. Mower, Sarah. “Dries Van Noten Spring 2014 RTW.” Vogue. 25 09 2013: n. page. Web. 8 Oct. 2013. <http://www.vogue.com/fashion-week/spring-2014-rtw/dries-van-noten/review/>.

haider ackermann

In one word: Androgyny. Sleek and modern silhouettes and relaxed shapes jux-tapose airy chiffon and silks found in veils, skirts, and tops. Masculinity is found in longline jackets and baggy trousers, as low cut tops and sexy metallic draped dresses evoke the feminine form. There is a clear mix of hard and soft ele-ments found throughout the entire collection. Tailored Jackets have flounces upon their lapels, while trousers are cinched at the waist to reveal the shapes of a

women. The color palette spoke to that of a dark indulgence. Metallics in jewel tones against satin blacks and neutrals gave a very luxurious element to this collection. Dark forest greens, plums, copper, and bronze were used as accents amongst most of the garments with a few exception of a crisp white that occasion-

ally made an appearance. The androgynous theme found in this collection is a commonly practiced theme for designers. While I believe that Ackermann excelled tremendously on capturing the concepts in this trend, The collection did not seem to appeal to the cravings for the athletic, sporty, and floral elements typically found in a spring summer collection. This Collection I find would probably be more successful as a Fall/Winter collection as the jackets and trousers would have a great place in the late

night scene on a cold winter night.

works cited

1. Phelps, Nicole. “Haider Ackermann Spring 2014 Ready-to-Wear Collection.” Style. 28 09 2013: n. page. Web. 8 Oct. 2013. <http://www.style.com/fashion-shows/review/S2014RTW-HACKERMAN>. 2. Bowles, Hamish. “Haider Ackermann Spring 2014 RTW.” Vogue. 28 09 2014: n. page. Web. 8 Oct. 2013. <http://www.vogue.com/fashion-week/spring-2014-rtw/haider-ackermann/review/>.

MORGAN MCCARTYFASM 215-01

FASHION AESTHETICS AND STYLEPROFESSOR ROY