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.

Boudicca Fall 2002

One of fashion’s most underrated labels, Boudicca, have my respect for a ton of reasons, but mostly, of course, because their clothes are and always have been stunning. The duo, who are also partners in love, have always persisted diligently toward their dream while remaining independent and staying true to themselves. Everyone wants to be able to succeed with their dream in life, but how Zowie and Brian have found their path – despite shunning many corporate sponsorship opportunities – is truly something to admire.

While they’ve had more conceptual and extravagant collections than their Fall 2002 showing, I really wanted to post this one as it’s a personal favorite… possibly for the very reasons I just stated. I love their ability to bring dark and enchanting fantasies to life within their pieces and to give a very theatrical feel – but I also adore this collection for it’s harnessed fury, so to speak.

All of their signature elements are there but it’s the modesty that really adds the extra allure for me. Their cuts are always severe and clean and in this collection, we’re really allowed to focus on that. Not to say there is a lack of detailing, but rather the amount of detail is perfect. The geometric detailing works so well with their sharp designs; I love the peel away effect on some of the pieces in particular and particularly how the panel underneath is completely contrasting. The asymmetry is also fantastic as it’s done so well. And finally I have to mention the black on black work is lovely also; the contrasting textures add a lot of depth and volume to the silhouettes.

"Wearability"

‘Wearable’ is a word thrown around far too often in the realm of fashion and I just have to say how absolutely ridiculous I think this is and how annoying it’s become. Of course some things actually are unwearable, such as really brittle couture gowns or things equally as perishable, but the majority of things are indeed wearable despite an unusual surface or silhouette. Technically, everything can be worn; the whole point is to look deeper than that.

I guess it breaks my heart a bit when I see someone call a collection as a whole ‘unwearable’ solely based on their impression of the runway presentation and styling being outrageous, without even a deeper look to try to grasp the clothing itself. Is this as deep as we are looking now? I mean, it doesn’t take a genius to realize that something can be outrageous, overly dramatic, overly embellished, ridiculous, whatever… and still wearable. None of the aforementioned adjectives which describe the aesthetic alone should ever be considered synonymous with the actual feel, function and quality of the item itself.

Something can look absolutely uncomfortable or very strange, but for the wearer, is completely comfortable due to the thoughtful construction and materials of the item. If books shouldn’t be judged by their covers, then neither should all clothing. There’s an entire school of designers out there currently who are specializing in modifying the human silhouette but also put an equal amount of thought into what is inside/underneath. I worry sometimes that if this term is too loosely used, that the designers in question could be pigeonholed despite their relevant talents.

Since Gareth Pugh seems to be the designer du jour who’s being widely dubbed as creating unwearable clothing, I’ll use him for my example. When people say his work belongs only on runways and museums, I have more than a sneaking suspicion that these people haven’t actually worn or even handled his clothing. His runway presentations may be very severe – but his clothing is much more impressive technically than his reputation eludes to. I’d like to try to show how disarming the majority of his pieces actually are, off the runway.

I’ve had this jacket since about November, if I remember correctly, and I’ve found that I wear it about once per week on average. As you can see – this unwearable beast is simply just a short, embellished blazer. The embellishments are attached to only the outer (of 3) layers of fabric. These triangles are indeed pointy to the touch – but don’t effect the movement or anything of the piece. They’re solely decorative and don’t interfere a bit with the functionality whatsoever.

^ Here is what I mean about not being able to really judge, based on a quick glance at the exterior. As seen above, the blazer is lined with Gareth’s signature star print. Also, the sleeves have a different lining in them, which is more smooth to the touch, as you slide your arm in. It is a shame that some people are missing the amount of thought and creativity put into these garments.

Here are a couple of the other Gareth things I have got, if you’re wondering about the more basic pieces. I adore them all very much and I wear them very frequently. If you have any questions, please ask, as I have rambled enough, unprovoked. :p

xoxo

Undercover SS09 "Grace" photo book

Out of respect, I don’t feel right scanning the entire book or even high-res of the individual photos. However, it is too precious not to share to some degree, so I selected a few of the photos/pages to post in here as a small preview for those interested.

Txell Miras Fall 2009

The criminally underrated (and very adorable) Ms. Miras is back with her winter collection and what a beauty it is! She’s been gravitating toward the more conceptual side of things as of late and upon seeing this collection, I am even more excited for the ride ahead. What is particularly exciting is that her style is delicious to begin with and she’s successfully managed to start incorporating entirely new concepts into her work – but meanwhile managing to keep every single, solitary bit of her essence. These are tested and true signs of a visionary and I only hope she’ll have all the success she deserves.

On to this collection itself, which is entitled – wait for it – “Framing”. Perhaps not the most imaginative name, but at least it’s certainly descriptive as nearly every garment either contains a frame or is, in itself, a frame for the wearer. The accessories mimic the theme, too, as the models donned hollow, square pendants.

The theme is particularly interesting because as far as I see it, framing can either be seen as protection or exploitation. The encased feeling of being isolated, protected from harm’s way, can make a frame a very safe thing. On the other hand, frames can also be largely exploitive – restricting and make capital of their subject.

I love the dresses with the strap(s) hanging; things like that are a dream for layering. The construction of her clothes is so good. She uses relatively delicate materials and manipulates them pretty hard – but all the while, the garments look so effortless. She doesn’t go crazy with combining textures but she is very good at using fabrics with enough differentiating qualities, so that they successfully add depth within her black-on-black looks.

Somarta Fall 2009

Tamae Hirokawa may have gained notoriety by being ‘the chosen one’ and having been taken under the personal tuition of master Issey Miyake, but she’s carving a place all her own in the fashion world. Decidedly toned down compared to the last few seasons, this collection makes perhaps an even more powerful impact, as it emanates strength and a distinct and mythical beauty.

Trading in a lot of the flair, she seems to have done some serious editing work – not that her clothes seemed to even need it – but the result is indeed gorgeous and gives her work more of a decadent feel overall; the colors, the fabrics, it’s all very rich in tone or texture. Her signature patterns are usually the focal point to a great degree but this season, you’re left to appreciate the sheer beauty of her pieces. I think the ability she has to combine textures so severely, without it looking messy or overbearing, is really special.

The accessories are amazing, but aren’t they always? Yes, but let’s do some redundant gushing anyways. The jaw guards are so, so stunning and I really hope they go to retail. The stockings are a familiar thing, but they look so fresh every time. As do the bodysuits, body stocking, gloves, et al.

While it wasn’t the focus of this collection, her signature pattern is still prevalent as ever and the approaches she took toward working it in this season is really admirable. For instance, the pattern is often on a sheer, light fabric, but we see garments here where she’s translated the pattern via embroidery on opaque pieces instead. She’s also got a design company, Soma Designs, which focus on applying her signature patterns onto products, installations, furniture and more. She was even invited last year by Toyota, to make-over their Compact IQ model.

There are so many more things to mention here but I know I have a tendency to ramble on insufferably about my favorite designers, so I will keep it short. I love the collection, I love her and I look forward to her future more with each passing creation she unleashes on the world.

The Shinmai Creators Project

The Shinmai Creator’s Project is sure to breathe a bit of new life into JFW, meanwhile giving some relatively up-and-coming designers some fantastic exposure. The organization is set to become an annual affair, after this year’s success and will be featuring five new designers and their work, at Japan Fashion Week each year.

The requirements were: that the designer’s experience does not yet exceed the time of 10 years and also, of course, they must have a strong interest in and passion toward Japanese design and manufacturing… and of course, recommendations from highly notable sources, such as professors at prestigious fashion academies. The winners were to show their designs in a special presentation at Japan Fashion Week, this year.

So, in the end, five winners were chosen out of a slew of designers – 52 brands, from 34 schools, in 17 countries, to be exact. On the selection committee were such reputable folks as Nobuyuki Ota (who is the now president of Issey Miyake Inc.), Valérie Toranian (Elle France’s editor in chief)and many more.

The brands/ designers chosen were Sachio Kawasaki (Japan), Nima by Nima Taherzadeh (Iran), Shida Tatsuya by Tatsuya Shida (Japan), aéthéré(e) by Ly-Ling Vilaysane & Adrien Escarvage (Switzerland, France) and Donna Sgro (Australia).

While I wasn’t in love with all of the designers’ work, the majority was definitely great. I wasn’t feeling Donna Sgro or Nima, so I am not going to post them up on here, because I’m just discriminatory like that.

However, I am really glad that these three, who’s work you can see below my rambling, are getting such exposure and they all definitely brought their A-game for JFW. I think they fit so well among the existing Japanese design aesthetic and hope they are invited to continue showing in the future.

aéthéré(e) F/W 09.10

I really like their work as it has a strong sense of ease, comfort and movement. In the same vein of Yohji, their plays on volume are really done well. Although this aesthetic, when pulled off correctly, can look mature – so it’s great how they’ve injected a lot of youth into the looks with the cuts and details. I like that the duo didn’t go flashy in any way; the collection is basically devoid of gimmicks and I respect that. The minimal pieces, styled in a heavy way, speaks a lovely message all on it’s own.

Sachio Kawasaki F/W 09.10

Kawasaki’s work is unique and filled with potential. Off the bat, the silhouettes are what immediately grabbed me, but the linear designs are really gorgeous as well. I like the structured silhouettes, coupled with the really fluid designs… he’s managed to create a really gorgeous effect with this. The execution of this is almost alarmingly good for someone with less than 10 years of accumulative design experience, but of course, that’s what makes it so exciting.

Shida Tatsuya F/W 09.10

If ever a designer belonged at JFW, it is this guy. In fact, it’s hard to believe he’s only showing as a guest, in comparison to most of the seasoned designers who show every season. The colors are used so well and give such an impact but you’ll find that things only get more impressive once you look beyond that. I am pretty blown away by a lot of the pieces; the whole aesthetic isn’t something we’ve never seen but the pieces themselves are divine. I mean… long, heavy, draped and bound fur skirts? Oh yes.

everlasting sprout Fall 2009

Everlasting sprout is always something to look forward to and this season continues in that tradition brilliantly. Muramatsu’s flair for combining rich, diverse textures is always so impressive and this season, the muted color palette he chose is so divine.

It’s impossible not to mention the knitwear straight away… it is absolutely stunning! The range of different knitting techniques is so impressive as well, but it’s how Muramatsu is so creative and unique with them that makes it really something special. There is even a color block knit dress, comprised of contrasting knit panels via different patterns and colors. The chunkier knits, which he builds upon the exterior of are really precious and give off a ‘blooming’ effect, meanwhile – as do all his knits – creating a sweet silhouette.

There isn’t much in the way of outerwear but that capelet is wonderful. I love the pattern and all of the different textures on the piece. Muramatsu is so, so good with the textures; he mixes fabrics so masterfully and while the combinations are often unlikely, the result is always stunning.

As far as styling and presentation goes… well, it’s never run of the mill when it comes to everlasting sprout… it’s always a dream, really. The thoughtful pairing, precision layering and the hair and makeup always tell the story of the designs perfectly. All in all, I love everything; the clothing, presentation and styling are all so poetic and whimsically beautiful.

Suzuki Takayuki Fall 2009

Simply put, Takayuki is one of the fastest rising stars at JFW, as far as I am concerned. He has been showing there for a couple of years now with his namesake line, and his work just keeps getting better with each season. Of course, I am always a huge fan of people who choose to do things a bit off the beaten path, and Takayuki is the perfect example.

Not only is he notoriously eco-conscious when it comes to his fabrics (he also has a separate line for organic-only garments), but he is a mastermind when it comes to the actual construction and detailing, as well. I love the dark and quirky beauty that his work emanates, particularly coupled with the fact that the fabrics themselves are very airy and ethereal – the combination is truly magical.

While his work is filled with atypical aspects, it’s never weird for weird’s sake or for show. The garments each make sense, and I love how much time has (clearly) been invested into the thought process behind them. The multi-layered and tiered pieces are gorgeous, and the jackets look to be cut to perfection as well.

Above all, however, it is the presentation that is really thrilling. Not only is it original, he really reinforces the sort of decrepit beauty that his work embodies. The garments act as a veritable gossamer to the cobweb feel of the individual installments. On top of the placement and composition – the way the clothes are brought to life, in a way, due to how they’re strewn and bound – the effect is really precious.

mintdesigns Fall 2009

Tokyo Fashion Week began on Monday and, as per usual, it was off to a refreshing start! Trading in an abundance of gorgeously eccentric rain gear from the Spring collection, mintdesigns is back with another great showing.

The stunning print/pattern work is often what sets this duo of designers apart, as well as the unusual but highly functional materials the pieces are comprised of. The patterns they create are so unique and fun, which is just an added bonus on top of the clothing itself.

There is always such an ease about mintdesigns; they are so effortless. Not only are the clothes fun and unique, they’re also a dream to wear as far as how they play out functionality-wise and how amazingly comfortable the garments are.

As always, the styling is sheer adorableness! Although it is hard to top their last season, which had the models wearing mini-skeletal structures as head pieces, amidst what were probably some of the best rain boots and umbrellas of all time… the headpieces this season are also great. Of course I love the chic sars mask look (who doesn’t?) and how it’s coupled with the veritable barb wire halo.

The shoes, which are vintage-inspired lace up boots with contrasting soles, are really good as well – I like how they’re so different than the million variations of the same type of boot that we’re seeing from most other designers.