CLOUDBUSTING (KENZO)

Although it has been a few months since the collection was first showcased, Kenzo today released the video ad campaign for their Fall 2013 Menswear collection. Entitled 'Cloudbusting', the short clip brings the collection into context by showing a series stunt riders surrounded by clouds of smoke, decked out in cloud-print jackets and plastic clip-up belts. The concept of the video is said to have been to create an abstract landscape that represents 'day clouds' and 'night clouds' - as the video begins in the daytime and culminates in darkness, the abstract puffs of neon mist are a perfect visual representation of the sky-prints that were key to the collection.

The soundtrack to the film is equally eerie - by choosing 'Kingpinning' by transgender rapper of the moment Mykki Blanco (click here to follow Mykki on Twitter - well worth doing!), Kenzo once again demonstrates that they have immaculate taste. The Parisian house has recently renewed its aesthetic, choosing to focus on clean lines, abstract prints and subtle Oriental influences, and are one of the best examples of the 'East Meets West' movement that is currently dominating both mens and womenswear. In short, the collection and the accompanying campaign are representative of a new wave of young talent within the fashion industry that are successfully redefining the concept of minimalism. 

Photos of the collection after the jump!

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. 

THE POWER OF ACCESSORIES

This blogpost is slightly different to one of my regulars, and it's basically because I will tomorrow be attending the Bloggers Love event at the Penthouse club in London. The event is a press event for the lovely Rosina Savage boutique (http://www.rosinasavageboutique.com), a bespoke shoe company which uses Swarovski crystals to create one-of-a-kind footwear. 

For now, however, the challenge of writing about a company as opposed to just writing about runway did make me slightly nervous but, the more I thought about it, the more relevant it became. For example, the Tabi shoes and matching socks from Prada's Spring/Summer 2013 collection became the most-photographed item of the entire season in terms of editorial, and who could possibly discuss Alexander McQueen's 'Atlantis' collection without mention of the iconic 'Armadillo' shoes? The idea of a bespoke shoe company got me thinking about the impact that accessories can have on an outfit, therefore this blogpost is dedicated to some of the most innovative footwear of the last few years.

Prada S/S 2013 Footwear

A recent example was Miuccia Prada's futuristic take on the Oriental trend - the collection itself encapsulated the Eastern feel of the S/S 2013 collections but raised itself a step above its contemporaries by putting an avant-garde twist on the trend. The collection itself was inspired by Japan - from flower motifs to origami-inspired silhouettes, the choice of traditional references paired with synthetic techno materials led to the show being one of the most-praised of the season. 

WALTER VAN BEIRENDONCK S/S 2014

As though on a mission to prove that menswear needn't be boring, Walter Van Beirendonck's latest collection was an explosion of print, colour and texture - even within 31 looks, there was not a trace of minimalism to be found . One of the original members of the legendary Antwerp Six collective, Beirendonck's eccentric collections have earned him a cult following and made him one of the most successful members of the group, which also includes fashion veteran Ann Demeulemeester.

Beirendonck is renowned for his bold colour choices and this show was no exception - named 'Home Sweet Home', the designer himself explained in an interview that he took inspiration directly from the home that he shares with his wife in Antwerp. "It's my house, the interior of my house that I took inspiration from, very literally down to the vases", he stated, proving that inspiration can be found in any area by a creative mind.

Walter Van Beirendonck S/S 2014

This concept translated into a series of silk suits that were printed with grainy hardwood floors and retro carpet tiles - more loosely tailored than the average suit and paired with raffia loafers (complete with phallic imagery), the collection was laid-back in its approach and featured enough playful touches to distinguish itself from the other menswear shows. The theme continued as the models walked the runway decked head-to-toe in soft ice-cream coloured pastels - angular blocks of mint green were interspersed with light pinks to create the ultimate summer suit jacket. 

In terms of my own personal favourites, it was hard to pick between a pair of flowing silk trousers speckled with light beige motifs and an opulent purple silk jacket printed with a vase of golden flowers which, presumably came straight from Beirendonck's own garden. Many designers speak of creating collections that are personal, yet few actually go so far as to splash their own wallpaper on a suit jacket - it is a strangely intimate move that allows us a peek inside the everyday environment of the outlandish designer and, ultimately, one which has resulted in one of his finest collections to date. 

See more photos after the jump!

HUSSEIN CHALAYAN

Ever since the mass commercialisation of the fashion world, it has become increasingly difficult for designers to stay true to their vision and concepts without making huge compromises. To show just one collection is extremely expensive, maintaining control of an eponymous label with little financial backing is even more expensive, yet it is something that the iconic Hussein Chalayan has managed to do with little difficulty. Creative director of his own label since 2008, Chalayan's career spans two decades - showing his first commercial collection 'Cartesia' just after graduating from Central St Martins, the Turkish-born designer immediately established himself as a major player on the London fashion scene. 

'The Tangent Flows'

Setting himself apart from his contemporaries instantly, Chalayan's 1993 graduate collection was entitled 'The Tangent Flows' and featured clothing which he had buried alongside iron filings and left to decompose before digging them up and sending them down the runway. The entire collection was immediately purchased by luxury boutique 'Browns' and featured in the shop window, thus setting the tone for the rest of Chalayan's career. No stranger to commercial success, he was crowned 'British Designer of the Year' consecutively in 1999 and 2000, but what is it that sets Chalayan apart from his contemporaries? Perhaps it is the fact that the concepts and ideas behind his collections are so meticulous - an indication that his work is multi-dimensional, and is designed to be researched and scrutinised as opposed to merely being worn. In this sense, Chalayan's work can be seen as a social commentary of sorts, and a true insight into the life and beliefs of the designer. 

Iron filings - buried with the dresses of 'The Tangent Flows' collection

'The Tangent Flows' - Graduate collection, 1993

For instance, throughout his work there are five key concepts which I will explore in more detail, all of which are relevant to Chalayan's life and upbringing. The first of these concepts, and perhaps the one that has been featured most literally in the designer's work is the concept of flight. This was expressed literally in the A/W 1999 collection 'Echoform', which saw the unveiling of the now-iconic 'Aeroplane' dress. Constructed to mimic the exterior of an aeroplane, the dress had a central compartment which slid down mechanically to represent the unfolding of the wing before take-off - this was the highlight of a collection which also featured dresses with built-in neckrests, a detail which Chalayan later went on to say he designed around the idea of an aeroplane being like a temporary home, designed for comfort. 

A frequent flyer from a young age, Chalayan has spoken of how his childhood was spent flying back and forth between Turkey and the UK, as well as how his earliest aspiration in life was to become a pilot. There are even photos of the designer as an 11-year-old boy with a book entitled 'Aircraft' in the background - considering this interest alongside the designer's fondness for incorporating advanced technology into his collections, it is almost unsurprising that the 'Aeroplane' dress has been shown in two different forms in two different collections. 

A more melancholy reference to the concept was seen in the 1994 collection 'Cartesia', in which the designer showed a range of dresses made from an artificial paper called Tyvek. The 'Airmail' dress was a plain paper dress with a bright red and blue border - the exceptional part was that it came with its own envelope, stamped with the words 'Par Avion'. The dress was influenced by Chalayan's childhood in the sense that it was his way of remembering the days that he would send letters and cards by airmail to his mother in Turkey and was soon picked up by Icelandic singer Bjork who modelled the jacket on the cover of her 'Post' album, further propelling Chalayan and his avant-garde designs into the mainstream.

Audrey Marnay in the original 'Aeroplane' dress - A/W 1999

Bjork in Chalayan's 'Airmail' dress on the 'Post' album cover

BALENCIAGA RESORT 2014

Many (myself included) were extremely dubious when it was announced earlier this year that Alexander Wang had been chosen as Balenciaga's new creative director. Wang's predecessor, Nicholas Ghesquière, had previously turned the brand into a true fashion powerhouse, gaining respect for his futuristic aesthetic and experimental silhouettes, making the task of replacing such an influential director would be tricky. Not to mention that Wang's own eponymous collection is based heavily on luxe sportswear - often choosing to work mainly with leather and jersey, it was widely questioned as to whether or not Wang was versatile enough to take the helm of such a renowned fashion house. After impressing the fashion crowd with his Fall 2013 collection, this Resort 2014 collection has only proven further that he is entirely capable of the task at hand. 

Balenciaga Fall 2013

Once again, despite the brilliance of the collection it was evident that Wang was tentative about dividing opinion, choosing to stay away from colour entirely and focus on a colour palette comprising of black, white and several muted shades of grey. The lack of colour gave an elegant simplicity to the collection, allowing the focus to be the unusual, sculptural silhouettes. There were several examples of Wang choosing to play with proportions - for example, bandeau crop tops were teamed with cropped bolero jackets and lean black trousers, Wang's playful take on the tuxedo for summer.