Round The World & Ready To Wear March 2011 India INR 500/-
VOL.1 SPRING / SUMMER TWO THOUSAND ELEVEN KRIS VAN ASSCHE SPRING SUMMER TRENDS PARIS FASHION WEEK | Vol.1. SS’11 |
1
INSIDE PREVIEW EDITION SPRING / SUMMER 2011 Fillers
08 SPARKLING OPULANCE A relaxed and energetic approach with relaxed and charmingly simple silhouettes.
12 REGENERATED TAILORING A refreshed and a casual elegance is seen that cheers up tailoring with passion.
14 CHEEKY OPULANCE Navigating between street culture and couture opulence
18 THE FANCY AND FLUID UNIVERSE Silks, woolens and embroideries are washed and matt for a more casual attitude.
20 CASUALWEAR, SPORTSWEAR AND JEANSWEAR UNIVERSE A masculine spirit with a rock ‘n’ roll or precious blackness and an irresistible penchant for suave pastels. Profiles
10 KRIS VAN ASSCHE
He heads his own label and is the artistic director for Dior Homme. Balancing a nostalgic historical sense with radical modernism.
16 CORNELLIANI Capitalising on its tailoring skills, a perfect combination of cutting-edge technology, research and design, for over half a century Trends
24 PURITANS With the awareness of sustainability, we turn high quality consumption into long-lasting pleasure for the mind and senses.
25 DARK INK The day is running low and dawn immerses the large city in a uniform dim light.
26 OCCIDENT EXPRESS
The Occident Express gets going in a thick white cloud of nostalgia and loud whistling.
27 HYPER REAL
New ecology and high tech collide. Visions are turned future in a digital reality.
28 SONIC YOUTH
The powerful aura of old industrial installation with their aesthetical charm
Burberry Prorsum Men’s Spring 2011 Milan Fashion Week Pg 34
Emporio Armani Hyper Real Pg 28
Francisco Van Bethum SS 11 Paris Fashion Week Pg 29
06 EDITOR’S LETTER by Annou Iyer Fashion Weeks and Events
29 PARIS FASHION WEEK Francisco Van Bethum SS11 by Peter Stigter Gustavo Lins SS11 by Marleen Daniels Kris Van Assche SS11 Victor & Rolf Monsier SS11
33 MILAN FASHION WEEK Bottega Veneta SS11 Burberry Prorsum SS11 Costume National Homme SS11 Etro Men SS11
37 EVENTS Modefabriek in Amsterdam Pitti Uomo in Florence who’s next in Paris
ON THE COVER Paris Fashion Week Gustavo Lins SS11 by Marleen Daniels Catwalk Photography by Patrice Stable Annou Iyer for TrendLab
| Vol.1. SS’11 |
5
EDITOR’S LETTER Annou Iyer is an alumni of NIFT Delhi and is the Founder, Publishing Editor and Fashion Director at RTW. She also owns and runs TrendLab Consultancy in New Delhi. She was formerly Executive Editor at Images Multimedia Pvt. Ltd., Fashion Consultant, Trend Observer, Trends Writer at Style Asia - Fashion Forecasting & Services, Fashion Editor at Couture Asia Magazine- Fashion Trends & Forecasts.
“Sustainism, in consequence, achieves the opposite of its ambition.”
Sustainism as a new cultural era is described in two ways. The first is a series of quotes and aphorisms, two or three to a page. Familiar words flutter across the folios: connected, local, digital, ecology, community, interface, collaboration, crossover, social and so on. The book’s second channel, if we may call it that, is a confetti of colorful logos. These intersperse the aphorisms. The effect is visually pleasing the book reminds me of an illustrated diary I had as a child but I reached the end feeling I had read a contents list, but not the content itself. The idea, say its author-designers, is that Sustainism’s “graphically dynamic aphorisms, quotes and symbols” capture the zeitgeist of our culture and “name the new age.” I’m not so sure. The word sustain whether attached to an ism, or an ability speaks too much, to me anyway, of bailing out a leaking boat as it drifts towards a waterfall. It’s got to be done, but it’s not a joyful prospect. The book’s second channel, if we may call it that, is a confetti of colorful logos (including the ones above). These intersperse the aphorisms. The effect is visually pleasing — the book reminds me of an illustrated diary I had as a child — but I reached the end feeling I had read a contents list, but not the content itself. The idea, say its author-designers, is that Sustainism’s “graphically dynamic aphorisms, quotes and symbols” capture the zeitgeist of our culture.
Contributors CEO / EDITOR Annou Iyer
DEPUTY EDITOR
DEPUTY ART DIRECTOR
PHOTO RESEARCHER
Deepa Menon
Meenakshi Agarwal
Jeremiah Christanand Rao
FEATURES WRITER
ASSISTANT ART DIRECTORS
EDITORIAL ASSISTANTS
Corina B Manuel
Pooja Methia, Renu Sharma, Zubain Khan
Madhuri Velegar K
COPY EDITOR
SENIOR GRAPHIC DESIGNER
BRAND PUBLISHER
Anushka Patodia
Nandini Krishnamurty
Prachi Tiwari
EDITORIAL COORDINATOR
GRAPHIC DESIGNERS
MARKETING MANAGER
Shaila Pandole
Sandeep Bhaire, Varsha B Makhwana
Ali Siddhiqui
ART DIRECTOR
PHOTOGRAPHER
BRAND MANAGER
Ratul Bhowmick
Rudro Bhandary
Dipankar Sengupta
6 | Vol.1. SS’11 |
| Vol.1. SS’11 |
7
Victor & Rolf at IFW ‘10
Jill Sanders and Carl Abraham A relaxed and energetic approach with relaxed and charmingly simple silhouettes. The present in joined with the breeze of a slightly ‘50s nonchalance, updated by all the tactile and visual evolutions of modern fabrics. Colourfully playing with Bulgomme style stretch piqués, soft and supple tweeds, birds-eye weaves, micro patterns and sugary embroideries. Revelling in spruce fantasy, in acidic and tender colour ways, with asymmetric stripes, gently off-course checks and ginghams, floral jacquards and prints, with an artificial cleanliness. Thrilling to variations in light, with chambrays and oxfords vibrating with white, with linen-y shot looks and luminous finishings and scrapings with fused tones. Lending paleness to silhouettes through uniformly powdered fabrics, and 8 | Vol.1. SS’11 |
soft and precious washings on both the finest and most tangible bases. Prettying up reality with lightness, and taking a frank step away from romanticism. Playing with the semi transparency of silks with blown-up structures and ethereal handles. Adorning oneself in precise perforations, in cut-yarn jacquards, in vegetal lace. Accentuating the tastiness of silhouettes with soft contrasts. Mixing a rebel allure with deliciously dark accents to a grating and bursting freshness. Having fun with precise scratchings, sophisticating alliances between deceptively «bad» leather aspects and lacquered laces. Flirting with dissonant marriages between authentics and synthetics, giving a gentle new spin to preconceptions as a demonstration of all one’s differences.
Clockwise from top left: Etro SS’10, Gustavo ‘10, Gianfranco Puritans Left: Kenzo at JFW’10
| Vol.1. SS’11 |
9
KRIS VAN ASSCHE
Born to create Kris Van Assche was born in Belgium in 1976. Shortly after graduating from the Antwerp Royal Academy of Fine Arts, he moved to Paris in 1998. Van Assche worked under Hedi Slimane first at Yves Saint Laurent Rive Gauche Homme and followed him in 2001 to LVMH Moët Hennessy Louis Vuitton for the launch of Dior Homme, which electrified the men’s wear scene and catapulted Slimane to fashion stardom. Assche’s first 6 months of internship at YSL had become 8 years of close collaboration as first assistant of the master Slimane. Assche was chosen as the new artistic designer for Dior Homme after Hedi Slimane left Dior. Van Assche launched his signature collection in Paris in 2005. Today he heads his own label, KRIS VAN ASSCHE and is the artistic director for Dior Homme since April 2007. He continues with his own business which remains independent of Dior. His independent line is sold in 160 doors in Asia, Europe and North America. Works of Art For Kris Van Assche, the elegance of old times needs no dusting: his precision and careful attention to materials are not a reinterpretation of the past but new enticing figures of young slender dynamic men of our times. His collections nostalgically define a new approach to masculinity infused with poetry and a touch of ironic allure given by details and polished colours. Van Assche’s work is characterized by a strong feel for ritual and the exacting depiction of a chic that evokes “days gone by”. His designs arise from a sophisticated approach that breaks away from the uniformization of sportswear. Impelled by a vision of the man who takes the time to “dress up”, Kris Van Assche has embarked on an aesthetic quest, pursuing a new masculinity infused with poetry and authenticity. His label is focused on what he really wants to wear and do and describes it as a self focussed egocentric label. While at Dior he is obliged to focus on what the brand represents. He finds a right balance between the both and tries to push that forward. For Van Assche, doing a womenwear show is like a reality check after doing a Dior Mens show. It kind of puts his feet back on the ground.
10 | Vol.1. SS’11 |
On Men’s fashion “Men’s fashion shows have a very different role in the industry as compared to women’s shows. Men’s runway appeals to a small percentage of consumers and the business being done during a men’s show is about branding, it’s attitude, it’s positioning. Men also do not respond to trends like women do. Men’s style tends to change in a slow morph of details over years or even decades as men’s fashion, at its core, is conservative. Even men who are considered “well dressed” aren’t into fashion. From any best-dressed list, you will find its members get their suits from tiny bespoke tailors in London and Florence. Splashy menswear launches of recent memory include Thom Browne, who’s inspiration is a fifties accountant who likes stiff Scotch and racquetball, and Tom Ford, who surrounds very traditional suiting with egregious luxury and astonishing price tags. His suits aren’t radical, though their marketing is, and that, perhaps, is the key to his success. Because too much fashion on a man just isn’t masculine enough for most men.” Van Assche’s debut for Dior was, he says, an homage to Dior’s famous atelier, a showcase for what such highly skilled hands can do. It was sort of camp Fitzgerald, with tableaux vivants of Van Assche’s beautiful, beautiful boys in endless combinations of white shirts and black trousers in every conceivable permutation: “I want to bring back the feeling of a salon,” Van Assche says, “the feeling of Mr. Dior.” But there isn’t a great tradition of “Mr. Dior,” as far as menswear is concerned. The great French houses have status because of their work in womenswear: in couture, in ready-to-wear. The men’s businesses appeared as appendages, without particular identities apart from an idea of luxury and craft, until Hedi Slimane came along.
Six months after taking their respective positions, Pierree Bouissou, the M.D. of Manifattura Ferrarese and Perrine HoudouxStoclet, M.D. of Kris Van Assche Company are offering their respective companies the opportunity for an ambitious development as from 2009. KRA & MF, the Italian production and distribution unit for the majority of the male shoes for the LVMH group have just signed a worldwide licensing agreement for the designer’s make shoe line for a 5 year period. It was in Pitti Uomo, in Jan 2009, that the first joint collection was launched for 2009-2010 F/W presentations. Van Assche showcased this collection to the international press during its show in Jan 2009 at Musee de L’Homme in Paris. About 30 urban styles, streetwear and this Belgian designer’s famous sneakers will also be sold in the two company’s respective showrooms in Paris and Milan for their customers: shops, department stores and luxury shoemakers. For the house of Kris van Assche, it is a first step in an ambitious diversification plan aiming to offer the brand’s lovers a complete range of products developed in partnership with renowned experts.
His creative reaction to crisis
On his favourite accessory, Shoes
“A good shirt should still be a good shirt and a good shoe should still be a good shoe. Nobody is going to buy anything that they don’t totally love. So I think it is definitely a moment to be creative but in a good balanced way”. Van Assche can, happily, hold his neoclassical ground. He is inspired constantly by the beautiful like good shape and nice skin and spends a lot of time in libraries, and with his grandmother. He is inspired by tango dancers or Arabic tribes. Sometimes it is crazy stuff, but the idea never outgrows his essence of fashion, which he believes is to make people more beautiful. “An idea should never overshadow the essence of beauty. And an idea should never make things grotesque.”
For Van Assche, shoes have always been his favourite accessory because he feels that it is the only one thing that makes the man stand straight. Aside from his work with the famous men’s label, his own line has seen some clever footwear designs take shape for the 2009 seasons. Revolving around Velcro strap designs, the clean designs are highlighted by good material choices. Styles range from military inspired heavy, futuristic combat boots to hi-top sneakers.
Kris Van Assche’s clothes are for the urban brooder. He juxtaposes suiting with the casual element of plaid and a general bagginess. Topped off with a beanie and combat boots, the collection ushers in a relaxed season that has its fair share of sophistication, but overall does not take itself too seriously. There’s plenty of industrial darkness to go around in Van Assche’s world.
And so this celebration of luxury and skill, perhaps, is what Van Assche means. Because it is all quite perfect, with rich, soft fabrics and precise, couture-level finishes.
Top right: Part of Kris Van Assche’s Milan Collection, Here: At the Giordano Showcase
| Vol.1. SS’11 |
11
Jill Sanders
Elaborating with the mastery of stretch additions to create a new skin in all serenity. Following the body, softly, with conciliating silks and knits. There is an unrestrained closing in on the seductive ergonomics of knits and bodysheathing double weaves, expertly handling the light and opaque, almost snappy, stretch of wool suitings or floaty cottons. The stiffness is eased with the dense fluidity of fabrics that are fusions of natural and synthetics and fabrics with springy fluidity, through wool and silk or cotton and polyamide blends. New creamy epidermals seduce with talc-like silks, extremely soft cottons, and generously enzyme textiles. Surfaces are interrupted by precious grains, by crepes and micro textures, intimately disrupted by linen-y irregularities or lent an in-depth mattness with a new spin to ties and daring disproportions. Fantasy adapts to new takes on sailor stripes with a textile extravagance. Launching into decoration and head-to-toe colour for flowery suitings. 12 | Vol.1. SS’11 |
Top row (from left): Jill sander’s at MFW ‘11 Middle row (from left): Etro SS’10 Bottom row (rom left): Visuel SS’10
| Vol.1. SS’11 |
13
Carl Abraham
Impulsively colourising, layering, combining by bringing together bright fabrics with ethereal handles, paper-thin fabrics, plain or jacquard silks and cottons and weightless laces. Creating bridges between the luxurious and the playful, and revealing fertile and generous alliances between the natural and artificial, in fabrics and decoration material. Playing with panache on contrasting behaviour and aspects to elaborate dazzling silhouettes. Designing with mohair wools or firm linens, and contradicting with softened double weaves, raw aspects and languid knits. Freedom is authorised by the imaginary wonders of a fluid and aquatic world by covering up in diluted patterns, drowned florals, and fabrics with soaked aspects. Delighting in strange under-water scenes, the dark depths of technical suitings, and inventing synthetic sirens or strange jellyfish. 14 | Vol.1. SS’11 |
Top row (from left): Jill sander’s at MFW ‘11 Middle row (from left): Etro SS’10 Bottom row (rom left): Visuel SS’10
| Vol.1. SS’11 |
15
Report by Annou Iyer THE HISTORY THE GROUP Corneliani S.p.A. creates, manufactures and distributes top-of-therange menswear and accessory collections all over the world. Its premises and operating units are based in Mantova, Italy. The company has two sites in Italy, one in Mantova and one in Verona, with around one thousand employees, and two international sites where the diffusion lines are manufactured. An international player, Corneliani stands out for its modern take on the values of tradition and quality that – together with its modern brand - make it a world landmark in men’s elegance. Corneliani is a family more than an established business. Carlalberto and Claudio, the two brothers who set up the business, are assisted by their sons, each one taking care of a specific area: Corrado the technical director, Maurizio the sales and strategic marketing director, Sergio the creative director, and Cristiano the international sales director. Different positions, same good taste, same uncompromising will in making bold, upmarket choices, always inspired by a natural bent for excellence. The Group, with a deeply structured management led by a central management team, after establishing its leadership in the luxury menswear market, is now looking forward to new, carefully-planned experiences. 16 | Vol.1. SS’11 |
In the Thirties, Alfredo Corneliani, one of the pioneers of the Italian menswear industry, set up a small manufacture of hand-made coats and raincoats which soon became quite a success even though production was temporarily discontinued during WW2. But it was his sons Claudio and Carlalberto who founded Corneliani S.p.A. in Mantova, in the late Fifties, giving it a dimension, an identity and such high standards it became one of the world’s most important menswear brands. After establishing one of the most innovative manufacturing sites in this area, the Group took over Verona-based Abital in 1980. In 1985, it set up a sales branch in New York to manage its business in the US and Canada. In the late Nineties, two new plants were built in Europe. After extending and strengthening its market horizons all over the world, in 2008 the Group opened a representative office in Shanghai, China. But the Mantova site is still a hotbed of projects and research, producing clothes and accessories collections for which Corneliani’s fashion is considered the epitome of the best Italianmade fashion and synonym with style. 2008 coincided with its 50th anniversary. To celebrate this event, an exhibition of photographs and advertising campaigns in Florence portrayed the evolution of a consistent, elegant style, the event was also celebrated by a Limited Edition, a range of precious, extraordinary clothes that were only sold in Corneliani monobrand stores.
Following page: (clockwise from top left) Gustavo, Gianfranco, Kris Van Assche and Visuel225 at the MFW ‘10 Bottom: Smalto SS’11
Tim Drew for RTW Silks, woollens and embroideries are washed and matt for a more casual attitude. Cottons and linens lend a fresh, natural feeling while maintaining a preciousness and refined delicacy. Semi-plain visuals target an elegant and discreet every day, while decoration is a vector for strong expression. In total contrast to this relaxed spirit, the exceptional is accorded a favoured place, with couturestyle bulky looks and excessive volume. Jackets are lighter toned and fancy woollens are smartly spruce, with fantasy in the yarns, boosted by little grating or scintillating accents. Linens on stage are figured raw and play on transparency/rusticity, silk and linen blends. Decorations are done with subtle graphics, re-drawn and re-coloured. The stained interpretations - immerged, inked or soaked treatments with sullied smokiness, unevenly dyed aspects are visible.
18 | Vol.1. SS’11 |
Tim Drew for RTW
A masculine spirit with a rock ‘n’ roll or precious blackness and an irresistible penchant for suave pastels. A silhouette interpreting all the casualwear fabrics, with a bit less weight and a bit more elegance. The sportswear silhouette is marked with contrasts: opposing colour and handles on tops and bottoms, creating oppositions between outerwear and what’s worn underneath, the obvious and the detail. The truly rustic fabric is softened through multiple washings, with a very neat satiny fabric - something very sturdy with something very light, the smooth with the grainy, dry with soft. Visuals, printed decorations and yarn-dyeds are softened, freshened up, or delicately dusty. The variable blues of denim impose themselves in all products. The jackets are impeccable in plain or checked, matt cottons or cotton/ synthetic blends, with a measured gleam for chic and functional trenches. There is a muffled gleam with waxed coatings or dulled metallics for a unisex shine. In cotton or denim, viscose or Lyocell blends are mixed with linen or cotton to lend springiness. Leather and skin aspects are softened to the extreme, in very fine chamois cloth, decorated with perforations. Rea l /imitation waxed leathers to be worn next to the skin. Chinos are finer and lighter in neat and delicately washed cottons. Textured fabrics and two-toned yarn dyeds, chiné knits are lightened with white. Checks are shadowed with sun. Surfaces are softened right up to slightly powdery surfaces. Fine poplin shirtings take on natural and refined wrinkling. 20 | Vol.1. SS’11 |
Top row (from left): Jill sander’s at MFW ‘11 Middle row (from left): Etro SS’10 Bottom row (rom left): Visuel SS’10
| Vol.1. SS’11 |
21
The view has altered and there is no turning away anymore. It is no longer possible to close the eyes to changes that announce themselves in detail as well as in a broad perspective. In winter 2010/2011 we take off to a new era. Due to a change in attitude, we are heading for a new sense of time and values. Driven by neo-realism we approach multiple chances and challenges. Never shy, but decided and powerful. Everything is thought through and above all – reasonable. Frugalness does not mean surrender. Extreme ideas surprise, intelligent technologies convince, realization brings change. This masculine sobriety is carried by feminine enthusiasm. Emotions are our incitements. Values, fun and happiness are experienced more intensively. The esthetics of innovation, the beauty of our environment, architecture, culture, fashion and nature earn a new significance. Esthetical perception paired up with an ecological mind set and ethic actions are the future oriented companions on our real time trip. Nostalgic detours are inspiring and allied to the thought of recycling. 22 | Vol.1. SS’11 |
| Vol.1. SS’11 |
23
COLOURS A quiet mood of soft winter pastels effuse feminine airiness with blue and rosewood infused hues of white. They are accompanied by middle grey shades like cement or polished metal, which radiate calmness. Light, warm wood tones, like ash tree, beech and nut tree appear natural and are combined with cool leather shades.
Confidently we are striding through a new era, shrouded in a coat of frugality. The equilibrium of mind and soul is reflected in rational and powerful, intense actions. With the awareness of sustainability, we turn high quality consumption into long-lasting pleasure for the mind and senses. An unobtrusive style – like Jil Sander – defines the image of the neo-conservative sobriety and clarity. Elegant, classic shapes are exaggerated discreetly at the shoulder or seam creating new silhouettes. Elaborate cuts as well as pleating and draping create substantial wideness. Modern comfort is shown in technical materials and functional details.
24 | Vol.1. SS’11 |
COLOURS Black in different cold and warm shades shimmers next to dark night-blue, viola and green. Strict grey and brown disrupt the monochromacity. The day is running low and dawn immerses the large city in a uniform, comfortable dim light. Iridescent twilights turn the metropolis in a sequin-like ocean of lights at the end of the day. It enlightens the mystic darkness of the night and evokes hidden powers of creativity and poesy. Silhouettes create impressions of armoured warriors in polygonal rooms, distorted and oversized as if Thierry Mugler did his magic. They denote power and rigidity through extreme construction of sleeves, shoulders and tops. Catsuits, surreal distorted like Grace Jones’ shadows, transform into wide gothic shells. Men are transformed into women; women are transformed into men in the transgender zone. Black light flickers in dark arches and transcendent vibrations drag us deeper into the night - until we seem to dive into it, into an underground lake whose surface shimmers like viscous ink in thousand nuances. FABRICS Ruled by clean, compact woven, chic surfaces such as satin, taffeta and drilled wool an elegant allure enters the stage. Without surrendering brittle, fragile looking structures with salt-finish. The eccentric mixture
of materials is favoured by the reduced colour range. Ghost-like light shells with heavy double-wovens or iridescent varnish finishes with blunt surfaces are wanted. Furs look like the shiny, fluffy feather dress of a nightingale. High quality finished materials are developed in the same laboratory that gave Knightrider his indestructible powers.
COLOURS Iced fruit tones in peach, raspberry and gooseberry join a light pearl grey. Middle shades of noble liquors like cognac and kir royal reflect French savoir-vivre. Peacock green decorates the hibernal mood and nutty brown tones complete the ethnic palette. Woollen pattern – big and small, classic or colourful – show a rich selection of coloured woven fabrics. The surfaces are voluminous, lightly washed or cuddly brushed. The variety of checks is reduced in colour and chalk effects cover stripes. Cotton surfaces have a matt vintage touch like inherited rarities. Grandma’s brocade jackets are transformed to bags. They create a smoothy rococo atmosphere. Jersey combinations with civic appearance are revivingly sexy by flowing silky qualities. Abstract paisleys and tiny tapestry motives in retro designs invigorate men’s shirts and feminine dresses The Occident Express gets going in a thick white cloud of nostalgia and loud whistling. Through plumes of fume, you can sense the historical steel pillars of Gare de l’Est. The mood is occidental when the train moves eastwards merrily. Sundown in Paris, sunrise in Berlin. In the cool morning breezes the journey continuous - direction Riga. The painted teacups jingle jollily in the colourful dining car. Two English gentlemen telling 26 | Vol.1. SS’11 |
black jokes for breakfast and are enjoying themselves on their matt red velour covered armchairs. Optimistically they combine their herringbone pants with colourful vintage shirts and tweed jackets. The conductor stumps over the floral carpet and his his metallic buttons reflect cheekily the honeycoloured sunlight. At the regular stop in Warsaw a group of young Polish, female musicians is blown in. Bleached out Baltic patterns are dancing on their wide, feminine skirts as they shake the snowflakes of their furry coats. Their eclectic style of mixing and matching reflects unbridled love for life. And while the curly blonde muse intones an improvised song on the cosy train, Tallin’s icy skyscrapers drift by the windows.
COLOURS A multi layered, nocturnal, industrial scintillation of headlights reflects the metallic cleanness of coloured varnishes. Neutral tones of building facades and earthy undertones in browns and grey build the base colours. Technical colorants in sulphate yellow, chlorophyll green, bright orange-red and intense turquoise accentuate this neonatural world. Natural materials like bamboo and cellulose are used as well as major technical synthetics in Kevlar and carbon mixes. Therefore, labels for the inner values of the clothes become more meaningful. Mixes of cotton and polyamide create a solid substance for active uses. Functional textiles with membranes or functions hidden in finishes are innovative in lighter qualities. Adhering two different fabrics merge nature and techniques. Surfaces and prints imitate 3-D. Space patterns are structured, dynamic and multi-coloured.
ies on “Green Construction� show dream landscapes and buildings that appear real today. Unusual fabrics play with experimental shapes and silhouettes: asymmetrical, extreme, redesigned, blown up or with misplaced proportions. Future today means trust in the modernity. Quality of life is based on an intact planet that stands for new kinds of life, living and productions. Comfort promises well-being, so does the integration of human needs in room planning and construction of cut respectively. The sparkling inventive talent is affected by ecologic and social sustainability. Times when ethic and conscious consumption meant surrender are finally over. A digital lifestyle is in the same demand as organic products.
New ecology and high tech collide. Visions are turned future in a digital reality. New ideas for recycling and material research offer innovative opportunities. Progressive architecture teaches us how to handle surprising new and old shapes and materials. Qualities for active sports are streamlined and ultra smooth. They show awareness for origin in a functional way. Intelligent stud| Vol.1. SS’11 |
27
COLOURS The light grey hues of zinc and the concrete of old factories appear in a used and brittle style. Metallic shades inspired by the battered copper of guitar strings or the matt, greenish bronze of Hi-Hats. Drum kits go together with the polished green of old circuit boards. Washed out steel blue stands next to real “Bleu de Nîmes” and intense spray paint blue. The powerful aura of old industrial installation with their esthetical and functional charm creates the ground for an arising blimpish atmosphere of departure. A quiet wave of energy vibrates in the veins, driven by an unruly will and the willingness to step out on the street and make visions reality. Behind loud demands are a strong opinion and future-oriented ideologies. This movement breaks established systems and points the direction to a new order. New Rave, Post Punk and Noise Rock provide sonorous and physical discharge. Teenage looks of protest demonstrate autonomy and independence. Stephen Sprouse, an 80ies fashion artist, inspires shapes and motives of the factory design. FABRICS Heavy materials of work wear from the mines are rigidly constructed and are used for clean cuts. The finishes of leather remind of a heavy apron at a furnace. 28 | Vol.1. SS’11 |
Strong washes and heavy scrub effects show authentic used-looks of the heavy industry. Laser finishes create concerted attritions for retro styles and make originals from denims. Rocking cigarette shapes stay and show of graphic stripes. The ply of wider jeans cuts plays with softer and lighter materials. Hidden shiny elements of polyester and viscose additions are shining through in a metallic, feminine way. Chrome reflexes or looks of liquid quicksilver are used for prints.
By Annou Iyer
| Vol.1. SS’11 |
29
30 | Vol.1. SS’11 |
| Vol.1. SS’11 |
31
32 | Vol.1. SS’11 |
By Annou Iyer
| Vol.1. SS’11 |
33
34 | Vol.1. SS’11 |
| Vol.1. SS’11 |
35
36 | Vol.1. SS’11 |
| Vol.1. SS’11 |
37
The undisputed highlights on everyone’s lips were the catwalk shows from 10 feet, ikks and strellson, the dance show by MET jeans and the show dictionary, with a dazzling act by performer Waylon. The spectacular, grand opening show by the promising designers at Cutting Edge and Next also attracted major attention and drew large crowds. Displays included the colourful graphic designs of Belle Sauvage, innovative kaleidoscopic art by Leonie Smelt, the lovely, pure aesthetics of the collection sets from Sober, the inspiring work by renowned designer Martin Bergström and the ground-breaking androgynous designs from Maldador.
38 | Vol.1. SS’11 |
As the world of fashion changes, under the impact of new consumer trends, buyers make selections that are very precise and focused on exclusive style-product combinations. Pitti Uomo is always blazing new trails and reacting vigorously to market transformations by revolutionizing its fair layout. At this edition the Main Pavilion has a new look that changes the overall look of the fair itself and confirms its mission as a place for research, experimentation and innovation. The fair is the platform where top buyers come to find established brands and emerging names; it is also the strongest context for the vendors in terms of showing their merchandise and promoting their image. This edition’s fashion agenda was performances by two of the most talented designers on the scene today and tomorrow – Umit Benan and Max Kibardin, winners of the first edition of ‘WHO IS ON NEXT? UOMO’. And, concurrently with Pitti Uomo, the fair presented the new edition of Pitti W Woman Recollections, that has its foot on the fashion accelerator and hosted a brilliant and unpredictable event by Giles Deacon, who is becoming one of the most innovative names in women’s fashion.
| Vol.1. SS’11 |
39
For its 1st edition, the PETIT WHO’S NEXT, devoted to kids’ fashion, proved very promising… “An encouraging start,” according to Sylvia Rielle’s Gilles Degli Esposti who welcomed le Bon Marché department store and Isetan (Tokyo) among others. To Joe’s Kids’ and Dino e Lucia’s Al Cadosh, “the synergy between Joe’s, in the Fame section, and Joe’s Kids proved very positive. It’s also interesting to see that Dino e Lucia who only designs kidswear, was asked to create for adults… some excellent perspectives for the future”. Sophie Guyot, WHO’S NEXT’s manager, adds: “this creation area can only grow and it will be further developed next September thanks to increased efforts in terms of communications and identity”.
40 | Vol.1. SS’11 |