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.

PARIS FASHION WEEK; HIGHLIGHTS PART 2

CELINE

When it comes to chic simplicity, nobody does it better than Phoebe Philo, saviour of French fashion house Céline. Best known for making the camel coat the staple of wardrobes worldwide, Philo's latest collection once again demonstrates a true understanding of the female form. The emphasis was placed on silhouette - pencil skirts with kick-hems were teamed with oversized coats with a subtle curve, creating an aesthetic that was slightly experimental yet undeniably feminine. Philo also dipped into the realm of print on a few occasion, creating what was arguably the highlight of the show - a painterly take on a polka-dot print, the inky smears of black livened up a beautifully-tailored white coat and added interest to an A-line skirt and ankle boots. Overall, the collection was no departure from the brand's signature aesthetic but subtle nods of progression (latex leggings, tartan prints) hinted that Philo is now relaxed enough in her role to begin to take risks.

RICK OWENS

Although many play with proportions, few take such a hyperbolic stance on silhouette as Rick Owens - from their frizzy blow-dried hair to their gargantuan leather boots, the models on Rick Owens' catwalk looked unmistakably formidable. The clothes themselves were equally menacing with huge oversized sleeves, fur shawls and mohair knits in a monochrome palette being the main focus. However, there were other influences thrown in - Owens presented an interesting take on the oriental trend by using weaving technique and stiff obi belts to create a modern version of the traditional kimono, and towards the end of the collection the mood softened for a series of silk evening gowns that represented a symbolic light at the end of the darkness.

ANN DEMEULEMEESTER
As arguably the most successful members of the renowned Antwerp Six (that is if we don't count Margiela), Ann Demeulemeester has been pushing the boundaries of fashion for over twenty years, choosing to forego the decadence of other notable fashion brands in favour of her own muted aesthetic. In this collection in particular there was a sense of conflicted identity - is the Demeulemeester woman a warrior or a damsel? The ethereality of certain looks was always contrasted by a shock of black leather or heavy, menacing boots - the feather-pinned top hats gave the impression of a tribal theme, whereas elsewhere the delicate drapery of black and white cotton referenced a more subversive, feminine aesthetic. The beauty of Demeulemeester's work is that it is truly thought-provoking - by including subtle references to a number of cultures she avoids being pigeon-holed and pulls off the difficult task of creating an almost entirely monochrome collection that cannot be accused of repeating itself.

 

PARIS FASHION WEEK HIGHLIGHTS; PART 1

After three weeks of chic, experimental collections, Paris Fashion Week is a showcase of the créme de la créme of the fashion world. One look at the schedule is always enough to get hearts racing - with Balenciaga, Chanel, Alexander McQueen and Lanvin amongst the shows of the week, it came as no real surprise to me that I will have to split the Paris highlights into two posts. Highlights of the week included Alexander Wang's much-discussed debut for Balenciaga, Sarah Burton's extravagant capsule collection for Alexander McQueen, Gareth Pugh's beautiful faceless models as well as Ann Demeulemeester's sinister take on an ethereal collection. To say the audience were spoiled is a true understatement, so without further ado..

BALMAIN
Renowned for creating statement bejewelled pieces, Olivier Rousteing's latest collection for Balmain displayed an "if it's not broke, don't fix it" attitude. Proportions were as hyperbolic as usual, embellishment was everywhere and the aesthetic was overwhelmingly futuristic. However, Rousteing did explore new fabrics as well as new influences - a series of high-waisted metallic brocade trousers were particularly effective when teamed with soft white jumpers, whereas jackets borrowed heavily from the dramatic silhouette of the traditional kimono, especially when teamed with what looked like metallic versions of an obi belt. Although the collection was cohesive in its vision of high-end glamour, there were two looks that were refreshing in their simplicity - red and gold silk was paired with plain black jumpers and thigh-high suede boots, showing that simplicity can often be just as striking as high-end futurism.

KENZO
Bringing a touch of Japanese design to Paris, Carol Lim and Humberto Leon displayed yet another fantastic collection for newly-revamped label Kenzo. Emphasis was on texture - from basket-woven trousers to red snakeskin jackets, the collection provided a colourful respite to the monochrome displayed elsewhere. Most importantly, the collection was vibrant and fun - sparkly, irridescent coats were shown as was a shaggy powder blue fur coat, proving that the duo never take themselves too seriously. There were some true highlights to the collection - the eye print, for example, could soon become a cult item, and a few matching printed suits were shown in loose silhouettes, making them work excellently both as separates or on their own.

GARETH PUGH
Staying firmly away from the vibrant colour palettes of most other collections, Gareth Pugh showed a signature collection that retained his familiar minimalist aesthetic. Interchanging between ethereality and gothicism, the collection presented a beautiful take on fashion's favourite contrast - light against dark. Stiff collars were paired with dramatic floor-length hemlines, whereas the outline of ominous branches added a sinister look to plain white fabric. If Tim Burton were to be represented in a collection, this would be it - white make-up gave models' faces a ghostly pallour that perfectly complimented the Victorian horror theme of the garments, whereas a series of oversized black leather coats towards the end of the collection were distinctly menacing yet effortlessly cool. Although the show could have easily veered into the realm of parody, the fact that the clothes themselves were some of Pugh's strongest work made sure that the focus was on the collection and not the concept.

MILAN A/W 2013 HIGHLIGHTS

It is hard to think of Italy without thinking of tradition, religion and (of course) extravagance, and Milan Fashion Week delivered in providing all three. Legendary Italian designers (think Gucci AND Ferragamo) presented collections that were chic, opulent and heavily inspired by the culture of the country. More upmarket than New York, less experimental than London and more classic than Paris, Italy is known for its fondness of excess, and the collections demonstrated this perfectly. I believe that the collections were extremely divisive - for example, some houses occasionally took excess too far by relentlessly clashing prints (Roberto Cavalli) whereas others used materials such as PVC in an unsuccessful attempt to create an experimental look (Versace). The true highlights came either when a brand stuck to a classic colour palette but experimented with cut and fabric (Prada) or followed a signature aesthetic but pushed it further than ever before to establish a strong brand identity (Dolce & Gabbana). So here are my highlights of Milan Fashion Week, a true testament to overstated glamour, relentless decadence and exquisite craftmanship. 

FENDI
The one fabric that is undoubtedly having its moment this season is fur - so far this season several designers have turned to fur to add a touch of luxury to their collections, but Fendi made the brave decision to dedicate almost an entire show to the versatile fabric. Whether it was shaggy mohair dyed canary yellow, or a more traditional mink fur streaked with pink and purple, the collection incorporated both tradition and innovation. Although there were some chic, tailored looks, it was the more outlandish looks that truly provided the highlights of the show. For example, a ruffled black fur coat was decorated with racing stripes of hot pink, putting a playful twist on an otherwise traditional look. The hair and accessories added to this youthful spirit - models walked the runway with grey fox-fur mohawks, whereas wacky white sunglasses (oddly reminiscent of Willy Wonka) look set to become the must-have accessory of this season. Showing that the worlds of luxury and whimsy can co-exist, the collection was without doubt one of the most interesting of the season.

BOTTEGA VENETA

Towards the more refined end of the fashion spectrum was Tomas Maier's A/W collection for luxury Italian house Bottega Veneta. Choosing to stick to classic designs and add interest via sculptural silhouettes and left-field colour choices (Maier even succeeded in making mustard look sexy - not an easy task!), the collection stood out for its approach on turning old-fashioned clichés on their head. For example, wool was the predominant fabric choice of the collection, yet the fabric looked light and airy as opposed to stiff and restrictive. Cocoon coats were tightly belted to give an air of elegance and a feminine silhouette, whereas plunging necklines were used elsewhere in the collection as a nod to a more seductive aesthetic. There were also references to the Art Deco trend - a series of cream dresses were decorated so painstakingly with coloured embroidery that it gave the illusion of a painted work of art, whereas sheer detailling and intricate beading presented a modern take on the 1920s flapper dress. Overall, the collection a new take on the notion of femininity - by being sexy without being overtly obvious, Maier showed that high fashion doesn't always have to be about shock value.