HUSSEIN CHALAYAN A/W 2000

Having recently collaborated on an an essay exploring the relationship between fashion and utility (you can read here if you're interested!), it made me consider the real definition of fashion - many define the likes of couture as 'wearable art', yet many of fashion's most iconic pieces have been far from wearable in everyday life. Perhaps the best example of this comes from Hussein Chalayan and his innovative A/W 2000 collection, a collection which saw him win the British Designer of the Year award for a second consecutive time.

One of the most interesting aspects of Chalayan's approach to design is that his collections are always focussed around a concept, and his garments usually have several different functions. Even with his latest collection Chalayan displayed a series of stunning gowns that were shown on the runway to be reversible, which in some ways does incorporate the notion of utility into his designs. What is perhaps ironic is that, in theory, Chalayan's designs are incredibly practical - this A/W 2000 collection, for example, saw him display the now-legendary Table Dress, a garment which literally is a table and a dress. All that the model must do is step into the centre of the table, pull up the folding slats and attach them to her belt loops, a genius design which had never before been seen by the fashion industry. However, it is at this point that we must ask ourselves whether or not we would ever walk the streets wearing a dress fashioned from a wooden table - a question to which the answer is, most probably, no.

BOMBAY

There are few fashion houses that can make its own rules, yet every year the iconic Karl Lagerfeld stages his Métiers d'Arts collection, a spectacular display of both exquisite craftsmanship and cultural discovery. Although the shows are always incredible (this year's collection, based on Scotland is also worth a look), without doubt my favourite is the 'Paris/Bombay' collection from 2011, an Indian-inspired extravaganza staged at the Grand Palais.

The purpose of the annual display is to highlight the talent of the many artisans that work in houses owned by Chanel - from embroidery to embellishment, every detail is hand-sewn, meaning that the collection is the true embodiment of couture's splendour. Although the clothes themselves were exquisite - think flowing fuchsia saris and metallic gold tweed, it was the accessories that really completed the look. From jewelled nose rings, ruby bindis and intricate hand chains, the level of decadence was extraordinary as models walked the runway literally dripping in gold. As always, Lagerfeld provided ridiculous extravagance that can only be achieved in the world of couture.

PRADA S/S 2013

As much as I adore the edgier, conceptual side of high-fashion, there are times when clothes are so beautiful that there is no need for concept. Take, for example, Miuccia Prada's S/S 2013 collection - a fusion of oriental motifs, pretty plastic bows, luxe silk dresses and some seriously statement footwear.

It's often said that fashion is losing its appeal because trends continue to repeat themselves - in essence, everything worth doing has already been done. This strikes me as a defeatist attitude - trends always have, and always will repeat themselves due to the simple fact that there is only so far the imagination can stretch. The challenge that designers now face is how to take a trend that we've all seen before (in this case, the Oriental trend) and repackage it to a fresh new audience? 

Prada's answer was to do Japan in the 28th Century - the ultra-futuristic aesthetic of this collection was a complete breath of fresh air, and something that few designers explore throughout an entire collection. Although there were some timeless pieces - a white fur coat emblazoned with fire-red flowers was effortlessly chic, as were a series of silk cocktail gowns decorated with abstract floral motifs - the looks were taken into the future by Miuccia's genius take on the traditional tabi and zori footwear.

Although the footwear divided opinion, Prada managed to take a simple pair of socks and turn them into arguably the most-photographed accessories of the entire season, perfect considering that they perfectly embodied the message of the collection - fusing the traditional with the futuristic. It's also worth mentioning that the trippy Real Fantasies video that accompanied the collection was equally exquisite, contrasting hand-painting with crystal-clear photographs to create a sublime collage of art and fashion. In a time when people are becoming disheartened with high-fashion as the lines between the runway and the high-street are becoming more blurred than ever due to collaborations and diffusion ranges, Prada has inspired a glimmer of hope in those that dare to argue that the fashion industry still has more to give. 

WHITE DRAMA

The always-enigmatic Rei Kawakubo has established a reputation for ignoring trends and making her own rules, continually crafting collections with a strong message and a stronger aesthetic that transport the viewer into the world of Comme Des Garçons. Perhaps the greatest recent example of her seamless blend of high-concept and high-fashion was her S/S 2012 collection, White Drama, a collection so beautiful that it is already subject of an exhibition at the prestigious Cité de la Mode et du Design in Paris.

Although the clothes themselves were a vision of ethereality, the collection was designed to portray a more sinister view on the modern-day institution of marriage. Each dress was based on the traditional mould of a wedding dress - some were fabricated from layers of laser-cut lace, whereas others featured huge peplums and makeshift crinolines made from futuristic fabrics which shrouded the model entirely. The women's heads were often encased in stiff white masks which obscured the face completely, whilst other models wore headpieces of intricate organza flowers for a more delicate take on the concept.