GIVENCHY - TOP 5

Yesterday was a momentous day for the house of Givenchy. Riccardo Tisci took the Internet by storm by announcing that 1200 tickets to the SS2016 presentation would be available to members of the public, a move designed to celebrate both the launch of a New York flagship store last week and the opening of a flagship in Milan which will coincide with the show on September 11th. Givenchy is one of the industry's longest-running fashion houses; founded in 1952 by Hubert de Givenchy, the house quickly gained a reputation for its elegant couture pieces and its sartorial links with icons such as Jackie Kennedy and Audrey Hepburn. The brand has come a long way, recruiting legendary designers such as Alexander McQueen and John Galliano along the road. Since his appointment in 2005, Tisci has nurtured a new, darker aesthetic and catapulted the brand to huge mainstream success. To celebrate his first decade at the house and his decision to make high-fashion more accessible, here are five of Givenchy's greatest collections.

Xiao Wen Ju wearing Givenchy Couture, A/W 2011

MARGIELA MONDAY

On paper, the appointment of John Galliano as the new Creative Director of Maison Martin Margiela is one of the most unlikely in fashion history. Margiela is the eponymous fashion house built by the elusive Belgian designer; an avant-garde reaction to the maximalist culture of the 1980s. With his unique brand of minimalism and label-less garments, the designer created a cult following based around anonymity and cultural iconoclasm. On the other hand, Galliano is a romancier as obsessed with excess as he seemingly is with his own public image, to the extent that his finale walk often garnered more column inches than the collections themselves. Unsurprisingly, the fashion world waited with bated breath to see the grand unveiling of Galliano's debut Artisanal showing for the house, so much so that the event even spawned its own hashtag, #MargielaMonday. So, the question remains; was it worth the wait?

BIRDS OF PARADISE

It's impossible to talk about the history of fashion without heavily referencing the iconic Antwerp Six, a young design collective that changed the face of commercial fashion way back in the mid-1980s. These young pioneers were followed a few years later by one of fashion's most elusive vanguards; Martin Margiela established his 'Maison' in 1989 and went on to redefine minimalism and logo culture. His critically-acclaimed collections never featured labels; instead, every piece was hand-finished with four plain white stitches in the place the label should have been. His intimate shows were amongst the first to evoke tears from a crowd of hard-nosed fashion editors, and key pieces such as his 'Tabi' boots toed the line (quite literally) between commercial and experimental, forcing the rest of fashion to catch up. Finally, in 1995, Raf Simons was first introduced to the fashion world as a little-known designer with a new menswear brand focussed around youth culture. Back then, few could have predicted that the designer sending pale, skinny street-cast skateboarders down the runway would become one of the most powerful men in fashion, eventually being chosen as Creative Director of Christian Dior. These designers all have one thing in common; they all studied at the prestigious Royal Academy of Fine Arts in Antwerp, a school which defines Antwerp as a city at the top of any fashion lover's bucket list. I was recently lucky enough to spend a weekend in Antwerp and, between visits to Dries van Noten's flagship store and swigs of Belgian beer, visit the city's ModeMuseum.

Thierry Mugler,'Chimere'

LE NOUVEAU COUTURE

Watching the recent Couture shows which took place in various locations across Paris this week, it was clear that an epidemic had spread throughout the fashion world. Couture is the art of using only the handiwork of hundreds and thousands of skilled artisans to create garments which are one-of-a-kind and inimitable. The price tags are eye-watering, meaning that only a select troupe of exclusive women are invited to purchase the clothing – the ‘Couture Club’, as they are often called. These women look to couturiers for painstaking detail, exquisite craftsmanship and, more than anything, a tribute to extravagance and luxury at its finest. As for us mere mortals, we see couture as sartorial proof of artistic brilliance. The spectacle that accompanies the shows helps transport us momentarily from our daily lives into a world of pure, ethereal fantasy which is as mesmerising as it is unattainable. However, this season something was different.

Chanel Couture S/S 2014, taken from Dazed Digital

MAISON MARTIN MARGIELA ARTISANAL, S/S 2014

The fashion industry is renowned for its concentrated view on the concept of ‘trend’, meaning that the clothes we buy now will undoubtedly end up in Oxfam before the year is out. With its ‘Artisanal’ collection, the maison of Martin Margiela is seeking to reclaim these discarded fabrics and turn them into something which is both one-of-a-kind and timeless. The couture line is still relatively new, with this season marking its fourth showing under the official umbrella of Couture Fashion Week – meaning that expectations were raised.

THE HORN OF PLENTY

Continuing his exploration of the battle between man and nature, McQueen’s ‘Horn of Plenty’ presentation (which can be seen in full here) was a return to a more brutal aesthetic for the designer. Taking place in a vast industrial wasteland, the show’s towering centrepiece was a scrapheap from which parts had been taken and made into headwear for the harlequin-faced models. The concept behind the set was that of recycling and renewal, a concept illustrated by the fact that props from his previous sets had been taken and spray-painted black in order to populate the scrapheap that dominated the stage. The designer spoke about how he wanted this show to be a retrospective of sorts, one that would mark his 15^th anniversary in the fashion industry and enable him to manufacture the image of his legacy – a story which is particularly poignant considering that this would end up being his penultimate complete collection.

ALAIA

France is renowned for its fashion history. Some of the world’s greatest couturiers were born and raised here, couturiers such as Yves Saint Laurent, Coco Chanel and finally, the focus of this article, Azzedine Alaia. Whilst his two contemporaries were busy breaking social boundaries with their androgynous visions, Alaia instead created clothing that was designed to hug and emphasise a woman’s body. I was recently engaged by Alaia for the first time whilst reading Grace Coddington’s memoirs – her enthusiasm for some of his early collections led her to make the decision to dress exclusively in Alaia, a huge accolade. So upon hearing news that the first exhibition to be held at the recently-renovated Paris Galliera would be a retrospective of the man himself, I wasted no time in heading to the museum to see what the fuss was about. Needless to say, I wasn’t disappointed.

Fall/Winter 2003, ph by Paolo Roversi

ULYANA SERGEENKO FALL 2013 COUTURE

In today's media-driven society, it is easier than ever for upcoming designers to showcase their own street style to gain column inches for their own lines. Take Ulyana Sergeenko for example, a woman that was more accustomed to purchasing couture than to buying it. Her love of waspish waistlines and dramatic full-length dresses saw her featured in the best-dressed pages of many magazines and helped establish her sartorial reputation before she had even shown her first line. The collection was worth the wait and now Sergeenko is on her third showing at Couture Fashion Week and the calibre of models displaying her unique designs has raised significantly - girls of the moment Hanne Gaby Odiele and Natsya Kusakina were among the models chosen by Sergeenko to walk the runway.

MAISON MARTIN MARGIELA ARTISANAL

There were many incredible shows at this season's Couture Week, but perhaps the collection that has sparked the most debate is the showing of iconic Belgian house Maison Martin Margiela. In a society that is programmed to associate couture only with the unbridled opulence and drama of the iconic designs of couturiers such as Yves Saint Laurent and Thierry Mugler, this collection came as a surprise. Margiela is renowned for going against the grain - although he left the house in 2009, the collections are still heavily inspired by punk propaganda, and the house has chosen to name their couture line 'Artisanal', claiming it different to other couture collections as it consists mainly of recycled and re-used garments. 

As is customary of a Margiela collection, all of the models had their faces obscured by a range of dazzlingly intricate masks - with materials ranging from crystal flowers to navy blue beads, the masks always perfectly complimented the outfits they were paired with and created the signature Margiela aesthetic that distinguishes the house from its contemporaries. However, the house's choice to show jeans on a couture show sparked debate - as couture is infinitely more expensive that ready-to-wear, tradition has taught clients to expect a collection crammed with extravagant coats and gowns as opposed to daywear. On the other hand, I personally love the inclusion of daywear in the couture shows; with the current economic climate, there are less and less people that can afford to spend eeye-watering amounts of money on evening gowns that can only be worn on (extremely) special occasions. In a way it makes sense to incorporate denim into the collections - many justify buying expensive denim as an investment, and these jeans were certainly a cut above high street. 

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.

ICONS; THIERRY MUGLER

It's undeniable that there were spectacular looks at the recent Couture Fashion Week - Iris Van Herpen continued to innovate with her incredible sculptural collection, Gaulthier supplied the drama with his spectacular Indian bride and her four hidden children whereas Maison Martin Margiela showed a promising collection that was bursting with potential. However, none of these shows compare to the spectacle of Thierry Mugler in his heyday. Clocking in at 45 minutes, the shows are pure delight to watch from start to finish. 

Devon Aoki for Thierry Mugler Haute Couture A/W 1998

Nadja Auermann for Thierry Mugler Haute Couture A/W 1995

Far from a traditional show, Mugler was renowned for his unusual choice of models. Legendary supermodels such as Alek Wek, Devon Aoki, Naomi Campbell and Kate Moss have all walked for Mugler, but the casting ranged from female bodybuilders to middle-aged women to slim, highly androgynous men. He often put the spotlight on little-known Scandinavian model Nadja Auermann, choosing her to model some of his most iconic looks (for example the incredible closing gown for his S/S 1997 look). 

ICON - LACROIX

There are countless reasons that I love fashion so much, one of the main reasons being that it's such a wonderful source of escapism. Although the incredible outfits showcased on runways are hardly practical or wearable, when worn in the context of an editorial shoot they truly come to life. Runway shows are designed to be a spectacle; from the grandiose settings to the ethereally beautiful models, they are a visual orgasm made to transport the viewer into a different world.

In terms of the garments themselves, nothing emanates elegance and escapism more than couture gowns. Every detail of a couture gown is immaculate, the shows themselves are even more magnificent; the sky is the limit in terms of both budget and theatricality. One of the masters of couture, and one of the reasons that I am so enamoured with the world of couture is the legendary couturier Christian Lacroix. Every piece that he designed was both extravagant yet elegant, and teamed with incredible styling and breathtaking sets, his shows are nothing short of mesmerising.

Partly so I can stop gushing and mainly so that you can see for yourself, just look below. I beg you.

Lacroix Haute Couture 1998

Lacroix Haute Couture 1995

Iris Van Herpen; Couture A/W 2012

Until recently, Dutch designer Iris Van Herpen was relatively unknown, but enjoyed a certain amount of recognition in fashion circles as the "Alexander McQueen for tech geeks". Designing beautiful sculpted dresses on Photoshop before working with an architect to create a 3D replica ensures that all of the gowns are truly unique, and impossible to replicate, earning the designer loyal fans such as Bjork, who chose to wear one of Van Herpen's designs for her most recent album cover, Biophilia.



Iris Van Herpen; A/W '12 Couture

Iris Van Herpen; A/W '12 Couture

However, this season the designer has become the name on every fashion editor's lips thanks to a highly original collection, complete with jaw-dropping accessories that have quickly become the top of many must-have lists. Sticking to the designer's trademark aesthetic, the garments were all ridiculously intricate, often fabricated from tough materials in a figure-hugging silhouette, forming a sort of second skin. It is in this way that the comparisons to McQueen begin to make sense - McQueen famously said that he wanted the McQueen woman to "be feared", and this collection certainly creates a powerful, and memorable image.

Iris Van Herpen; A/W '12 Couture

Read/See more after the jump!!

Trend; All That Glitters

Four-day weekends, an abundance of street parties and a house covered from floor-to-ceiling in Union Jack bunting - there are many things to celebrate about the Queen's diamond jubilee, and many ways to celebrate them. One look at the catwalks for Spring/Summer 2012 indicate that it's not just the public showing their enthusiasm - in a nod to this historic event, the runways were glittering (even more so than usual) with diamonds. Some of the most decadent gowns of the season were dripping head-to-toe in crystals, whilst sequinned Peter Pan collars and intricate tiaras were the must-have accessories of the season. The craze for all things that gleam even extended into the beauty world - the models at Fendi were seen with silver foil applied to their eyelids as a glimmering alternative to eye-shadow. Whether it be metallic leather, silver snakeskin flares or the tradtional diamond-studded ballgown, there was enough variety for any woman to become a princess, whether it be one of the classic variety or one of the ultra-modern type.

Sequinned Peter Pan collar; Jason Wu Spring/Summer 2012

Metallic snakeskin flares at Diesel Black Gold Spring/Summer 2012

See more photos after the jump!

Show; Chanel Metiers d'Art 2012

The Métiers d'Arts is an annual event hosted by Chanel, and one of the biggest events on the fashion calendar. It is not a fashion show in a traditional sense; it is a visual extravaganza, a collection of indescribably luxurious gowns, accessories and footwear designed by the ateliers, milliners and couturiers associated with Chanel. Launched eight years ago, the line was created to showcase French craftmanship and also to serve as an antidote to the disposable mentality of fashion at the time. As the price tags show, these pieces are not made to be worn only once; each item is a work of art in its own right, from the bejewelled bindis to the embellished coats, every item is a piece to be treasured.

Chanel Métiers d'Art 2012

Chanel Métiers' d'Art 2012

The 2012 collection is entitled "Paris-Bombay", and aims to recreate the inimitable luxury of traditional Indian clothing. Asked about why he looked to the East for inspiration, Lagerfeld explained that after previously looking to countries such as Shanghai, he wished to do something unexpected. The use of luxury was also a response of sorts to the recent economic crisis - in the words of Lagerfeld, "the crisis shouldn't be over-emphasised; people have always responded to difficulty by dressing up in jewels." This statement is key to understanding the clothes - for the many who are unable to afford the hefty price tags that come with a slice of Chanel couture, the show was truly an exercise in escapism. Admitting that he had never actually been to India, Lagerfeld acknowledges that the collection is as much a fantasy for him as it is for his lucky spectators. In typical grandiose fashion, a selection of extremely lucky guests were treated to dinner seated at an enormous white table, enjoying dinner and canapés whilst iconic models (Stella Tennant was just one of the models used) were sent down an expansive white runway dripping with jewels.

Chanel Métiers d'Art 2012

Read and see more after the jump, including accessories and other details!

Designer #4 - Yiqing Yin

Offering a unique take on traditional couture is Chinese couturier Yiqing Yin. Making her debut as guest designer at Paris Fashion Week, Yin made waves with her collection; a mix of ethereal beauty and edgy detailing. Yin's collection was primarily based on the idea of contrast of texture - luxurious velvet was teamed with tough leather, whilst billowing tulle was used with silk to juxtapose light and dark. A monochrome palette and subtly exaggerated silhouette kept the pieces classic enough to last for years to come, whilst the nods towards a space-age aesthetic hinted that is certainly not the last we will be seeing from this designer.

Designer #1 - Alexandre Vauthier

The next five posts will be part of a series entitled "the five best designers you haven't heard of", designed to highlight the up-and-coming talent on display at the fashion shows of Spring/Summer '12. These five designers come from all over the world and have collectively used materials such as lace, diamonds and cartoon characters and combined them to create something incredible. 

The first of the five designers is Alexandre Vauthier, the French couturier whose designs are already making a splash in the celebrity world – Beyoncé herself chose to wear one of Vauthier’s unique creations in the photoshoot for her new album. One look at Vauthier’s Spring/Summer ’12 collection shows us why; the French designer showed a collection with a metallic and pastel-based colour palette, taking traditional evening dresses and adding pastel purple fur stoles and cut-out details to create a look that was edgy, fresh and feminine. Click below to see more of the incredible collection!