Fortunately, Proenza Schouler wasn't as nautical as I worried it would be, and neither does it prepare us for the rain. "Off-shore" was the term Jack McCollough and Lazaro Hernandez used to describe their collection and though their designs seemed sea-worthy, they stayed far away from the sailor motif and instead entered the surfer realm. The ensembles were super sporty and super cool; mash-ups of swimsuits, track outfits, and evening wear, topped off with the models' beachy wind-blown hairstyles started the show off. Even the slightly buggish large-framed sunglasses with iridescent lenses were sporty chic. Brightly tie-dyed dresses were less Woodstock and more Hawaii while the sequins, metallic fringe, feathers and aquatic animal prints kind of reminded me of mermaids (don't know what the feathers have to do with anything, though). This collection is definitely made for a young crowd as I can't imagine many women who would be all over those micro-mini dresses. Maybe it's because I'm a Californian and I embrace anything easy and breezy enough to stand the heat, but this collection (sans the awkward babydoll tops) is easily one of my favorites. Even if you don't like the garments, you've GOT to dig those heels!
"Structured" was the word that Narciso Rodriguez used to describe his collection, but I think he should've used a different word like "light" or "volume". I think my predictions for Rodriguez were almost entirely wrong. Short-sleeved dresses weren't prevalent and the last evening gowns billowed as they came down the runway. Though Rodriguez's signature bustiers will be here for another seasons, his designs for the most part were airy and loose -- perfect for spring. Also, it's nice to see a collection without any peek-a-boo slits and cut-outs for once.
So I was wrong about 3.1 Phillip Lim. The "collage" hint mislead me into thinking that the collection would include layers upon layers of outerwear, tanks, and pretty much anything that can be worn. But his hint seemed to be relevant only to the dresses that closed the show which, as I predicted, included plenty of different textures. I'm not to keen on these pieces, though. Can someone say "RODARTE"? Seriously, the dresses seemed like a Rodarte Spring 2009 redux. Also, all the different material and colors mixed together wasn't visually appealing. But of course I'd wear some of the first pieces that walked down the runway. I loved the layered tops on Hyoni Kang and I literally clasped my hand over my mouth when Meenal Mistry's Style.com review noted that the tucked-in jacket was machine washable. As I inherit a lot of my aunts' office clothes, I've always sort of thought that all business wear had to be dry cleaned (which I never do, but I swear nothing smells yet). Though this season didn't reveal Lim's best collection, his pieces are very wearable as always and his regular buyers will continue to be regulars. Hopefully Lim will pleasantly surprise us next season; I still have faith in him!
by Sofia Sanchez and Mauro Mongiello via The Moment
How interesting that the Mulleavy sisters covered the models in black material, only revealing their faces and occasionally, when the models decide to take a smoke break, their tattooed arms. I'm guessing that the sisters did this because they aimed for a large impact once the garments came down the runway but no matter what, these pieces were going to STUN.
Everything I anticipated for Rodarte was revealed in the collection, but the clothes held so much more than what I had predicted. The color palette was dark, the looks were definitely deformed, and the burned, shredded fabrics were as grungy and grotesque as possible. But the collection's underlying message is what resonates with me. If everything from the Rodarte show, including the tribal tattoos and ambient neon lime dry-ice smoke, was in a movie, it would be a neo-noir/sci-fi film. The show's atmosphere carried a sense of despair...as if "the end is near". Very apocalyptic, like scenes from a movie that would keep me awake at night. I don't usually do this, but I have to include this bit from Laird Berrelli-Persson's Style.com review for Rodarte:
The idea that someone could "be scarred and still beautiful" was the collection's leitmotif, and it was about as far from some banal notion of "tribal fashion" as you could get. So where did this hallucination originate? A trip to Death Valley, and a corresponding obsession with singed land (which there is sadly too much of in California lately), sparked the sisters' imagination. That somehow evolved into a tale, part Mad Max, part Tim Burton, of a woman burned alive who is transformed into a California condor (you begin to appreciate Gordon's point). Forced to scavenge for existence in a barren, war-torn landscape, she pieces together her attire from rags that, as Laura Mulleavy pointed out, only serve to expose her wounds.Brilliant! I love a collection with a story to tell. The collection's "scarred but beautiful" theme pretty much embodies the literal meaning of my blog's name. These pieces transcend fashion and perhaps even art.
Trends observed: Cut-outs (not only bare navals), Unique fringe, Sheer fabrics
Ugh, I'll be leaving for school tomorrow and that might mean even fewer posts (I know, I can't blog at the speed of 5 posts a day). You can surely expect updates from LFW, MFW, and PFW, but forgive me if new posts become less frequent! I'll making y'all proud by contributing to society and studying my ass off!
P.S. Sorry dial-up users...I know this video-heavy post is capable of killing your internet window.
Might seem strange, but I listened to Peter, Paul and Mary before I even knew of Bob Dylan. RIP Mary Travers.