Anne Valerie Hash Spring 2003

I don’t usually post HC collections but this one is definitely one of my all time favorites. It is basically perfection. Not only had Ms. Hash had less than a handful of shows by this point in time but you’d never really know it by looking back on these works now. I think a lot of times couture is just so over the top and is couture for the sake of being couture… but when a designer makes couture basics, it is really special to me. Sometimes less is much more; it is easier to find the special details without all the frivolous overkill. AVH recieved a lot of Japanese designer comparisons in the beginning and this was one of the collections where she undeniably came into her own. I love how she kept certain trademarks and quickly learned to edit out the unnessecary elements of her work. At this point is when we really got the pleasure to learn who AVH really is. Everything here is just right; very practical but also very special and unique pieces.

Yoichi Nagasawa Spring 2003

Nagasawa has been on my mind lately after pulling out an old piece of his from my closet the other day. Though he did get ample recognition in the time he was most prominent, and was much appreciated as a successful and boundary-pushing designer, he is not really mentioned much nowadays in comparison to the other Japanese designers from the same pivotal era, I am not sure why.

I guess I have just always assumed that because he took a more mature approach to his work, that he lost much of the ambivalence and aspiration that his work formerly exuded. Whatever the reason, made some great pieces when he was in what I would consider to be his prime. Oh well… I guess none of that really matters but I always seem to find something to complain about, isn’t it?

Getting down to the collection itself; this particular one isn’t groundbreaking or anything, but I have always been really fond of it, none the less. I enjoy the manipulation of the fabric a great deal and the cohesive progression of the dyed pieces. One thing I enjoy best about his work at and before this point was the focus on form and deconstruction, which is I suppose what he ultimately shifted away from.

What I have always found most endearing about this collection is the descent of everything from the dye itself, to the actual fabrics which descend to morph into another fabric with a seamless transition. The strappy legwear is such a sweet complimentary contrast to the clothing. I really love the styling as well; it shows off well the ease of the pieces and how lovely his designs were.

Hussein Chalayan Spring 2003

Another peer into the past, Chalayan’s S/S 00 showcase was something that will always be remembered and admired. The culmination of functionality, innovation, cheekiness and overall amazing design and execution was something special and truly unique. These words can ultimately be used to describe Chalayan himself, although I admit I get a bit lost in regards to him sometimes… so I suppose it’s crucial to take a look back from time to time. I feel he’s descended into being a designer who just makes very cool clothes now… which is fine, I suppose. However, I miss this aspect of him, the unapologetic and all-out artist who’s shows really got a point across, a point which was much more deeply rooted than the shock value of unusual clothing.

I digress, though, because there is only love for Chalayan in the end from me… I am just hopeful that he might come full circle one day, using his maturity and wisdom to add fuel to his old fire. His social and political commentary was so apparent but there was some fusion with nature and the human psyche that was so enchanting. There was this struggle between the adamant and ambivalence in his old work that I found so endearing and which kept me really looking forward to what was next.

Anyhow, I feel this collection sums him up, although I did have a hard time choosing between this and a couple of others from the same time frame. But I guess in the end, this is perhaps some of his most recognizable works – and for good reason. Amidst the craziness of his collections, one great thing is that you can find a ton of really humble clothing but still with subtle and beautiful details and this collection has a lot of that. The color palette is also insane… I always loved the bright yellow and reds, they throw a curve ball to the otherwise muted colors. From exaggerated to fitted, the silhouettes here are broad and distinct and there are some great shapes created throughout.

The top and bottom photos in here, above and below the collage, are the two sequences I chose to (try my best to) display. The inflatable red dress is so cool and I’m sure it was a lot neater to see in motion.

The first row of photos in this post is probably his most well known creation and the dress that was to be the piece that would set him into the ranks of being a great progressive mind in the realm of designers. This dress is comprised of everything from wonderfully unconventional materials such as fiberglass and metal, all the way to one of the most frivolous materials imaginable: tulle. The functionality is made quite obvious in the series of photos… and the message, well I guess like any great art, is left to the viewer to interpret.

Yohji Yamamoto Spring 2003

One of my favorite collections, this Spring 2003 offering of his was definitely one to remember. As he often does, this collection is a bit of a culmination of past techniques (and retrospectively speaking – future ones too) but it is still pretty stand-out, in my opinion. It is really refined and incredibly directional. I always seem to fall for his very narrowly conceptual collections over the varied ones, I’ve noticed, although they’re all delicious.

First of all, I love collars… and this collection has all sorts and they’re either perfectly understated or brilliantly – and in the most effortless of manners – exaggerated. The overall silhouette is a comfortable one but, much like Spring 2009, has a ton of femininity sprinkled throughout the androgynous feel. Another thing I enjoy about this collection is the use of transparency as it’s very subtle yet makes it’s presence in really lovely places; he’s always quite good at the voluminous transparency but I think the way it’s used in an understated manner here is really nice.

As is no surprise, I also am a huge fan of the styling here, and think some of Tao’s collections are rather reminiscent of it. It’s very clean and straight-forward in it’s presentation, as his shows usually are. I really like the understated but ‘pretty’ aspects of it. The pink lipstick and loose finger wave styling of the hair paired with vintage-inspired headpieces really bring it all full circle.

Comme des Garçons Spring 2003

I am always left with the feeling of a terrible void after fashion weeks end each season, so I’ve decided that in the absence of new collections, I should post some of my favorite collections of the past. The good thing is, many of them have proved to be timeless, so rather than taking a dated look back, it’s actually nice to see how well they’ve held up with time and it makes me appreciate them that much more. I hope you’ll all enjoy them as well.

The first one I chose was Comme des Garçons’ S/S 03. Rei has always been such a master of her craft and taking a look back really solidifies that. This collection in particular was one of my favorites of hers simply because it does a good job at showcasing some of the things that she did well at the time and ultimately went on to be known for. Her gathering and ruching techniques have always been so admirable and the construction of her pieces is always so unique.

One thing in particular I have always loved about Rei, which is really plain to see in this collection, is that while the techniques she uses are used by many designers, her work always seems so personal. It is never too polished looking, too symmetrical, but rather it is a lovely visualization of brilliant trains of thought… ones which are not restricted by the confines of traditional construction. Her work is just so honest in that regard. The result is that the garments end up telling an intricate story and are able to lead the eye in unexpected places.