One of my favourite pastimes is to browse the resourceful online archives of SHOWstudios, with the YouTube channel being ultimately my most favoured one that I eagerly await upon. The award-winning website was founded in the midst of the year 2000 and is directed by the renowned Fashion Photographer, Nick Knight. A central hub for the communication of the fashion industry online, it acts as a constantly updated source of opinion, history and knowledge.
I am left puzzled when learning in conversation that a fellow classmate hasn’t delved themselves into what SHOWstudios has to offer. Even thought it comes as a questionable surprise to me personally, I quickly learnt that this lack of knowledge boils down to the two dominating intentions many have. The two types of people ive come across on the course reflects itself in the duality of the title itself. Those interested in the business and marketing side of the course are reflected in the ‘Promotion’ aspect. Whereas those who have a deeper interest and affiliation to fashion itself are more so drawn to and kept under the umbrella of the ‘Communication’ side. Either way which ever side someone predominantly leans towards, gaining a further understanding of the industry itself in terms of the runway shows and the history behind the designers, houses, collections and any one of the numerous creatives that lend their talents in some way will defiantly benefit them in the long-run.
My favoured series at the moment is titled ‘Head To Head’ and it delivers just that depending on the featured company present at the table. As acting host Mimma Viglezio, a Creative Consultant and Writer leads the one-to-one conversation with a guest that focuses on a particular show from that years season. This posts main body will feed off of a recently uploaded episode of the series that featured Mimma, alongside Stephen Jones a celebrated creative in the field of millinery. The video centres specifically around the week of A/W 2017 Haute Couture and features some of the most talked about shows that certainly draw out split opinions from the two. With my own thoughts being offered up on the same shows that they discuss, my favourite piece from the collections will be present alongside brief attention to the accompanying sets of each.
The first show that was talked about held high praises from both commentators and equally so from myself. This being the lux collection produced by Pierpaolo Piccioli for senior Italian house, Valentino. I had always deemed the brands identity too ‘traditional’ in the sense of its more favoured mature image, however in the more recent collections my views have started to shift and even more so thanks to this show. The entire collection embodied the essence of Haute Couture, as it clearly displayed an impressive level of impeccable skill and craftsmanship.
I particularly favoured the colour blocked pairings more so than the printed pieces, as they held a certain level of youth which opposed my initial opinions on the brand itself. With my favourite look opening the show it set the tone for what was about to follow swiftly behind. What sold me about it was the combination of pink hues that made each of the multiple fabrics showcasing their quality and their individual textures. The surrounding set was a simple layout of muted pink walls, with glass droplet chandeliers and monoliths of dripping wax. The set complimented the collection, as it shared similar colours to those present within the clothes, as well as it mirroring the same youthful sophistication of each look that walked the halls.
The second show held close significance to guest Stephen Jones, who worked on the hats present within the collection. This being only the second Couture show that the rather recently appointed Maria Grazia has done in her position of Creative Director. The designer who before her significant appointment, made up one half of the Creative for Valentino alongside the now equally solo, Pierpaolo Piccioli. The collection itself paid homage to the founder ‘Mr Dior’, through the use of his silhouettes that were used as the base for her new designs. I personally thought it was the perfect way to commemorate his work, to use his originals if they be an evening gown that now takes form as an equally chic floor length wool coat.
When choosing my favourite piece from the collection, I had to agree whole heartedly with Mimma. As the coat and skirt combo she chose had its own individuality against other looks which shared fabrics, details or colour. We learn that a richly coloured ‘patchwork’ coat in soft velvet, was actually hand painted instead of the presumed construction method both Mimma and myself first thought. But what makes the look so distinctive is that the closed coats length, cut just below the knee enables the energetic feather made skirt to show. What makes the look so unique is the juxtaposition achieved between the rich outerwear and the contrasting light skirt, even though they both share the same 18th Century colour palette if it be in block or an ombre. In most collection there is always a stand out piece/look that when it first turns the corners to make its debut, it will steal your gaze more so than any other that came before or even following after. To me this pairing and even more specifically the coat is that piece for me within this cultured collection.
Even though I agreed with the two about the stand out look that was the ensemble above. I had to disagree with their glazed over bewilderment when it came to what I thought to be a rather impressive set. The outdoor surroundings were composed of flora that lay cover for the numerous sculptural animals that filled the set. Ranging from a family of giraffes to a proud standing lion, all the way to an eagle that appears as if it’s swooping down right onto the runway. What I didn’t understand was how the two could not find the link between the clothes and the surroundings. The clear theme of exploration and travel, wasnt just seen through the clothes but quite literally spoken about my Stephen. As he goes into how Mr Dior loved to showcase collection across the world, from New Zealand to Cuba. Acting as a celebration of his work it seems only fitting for his history and love of travel to be included within the most recent collection.
When it came to the third show I myself was torn between the contrasting opinions of both Mimma and Stephen. Thanks to Karl we get ourselves some opposing thoughts that im sure aren’t just shared between the two and myself, when it comes to the work of Chanel. Never failing to not be one of, if not the most talked about shows by both the press and civilians alike. This time Karl decided to go bigger than ever before and certainly more so than his rocket ship stunt for the brands Fall 2017 R-T-W collection only a few months prior. Alongside the couture clothes of Chanel, a near full-scale replica of one of the most important landmarks and pieces of architecture to not only Paris, France but the world was present. Not far from the real one, a second Eiffel tower stood looming over the girls as they walked the runway, so much so that the top was lost in a sea of fog like clouds. The collection to me however didn’t come close to being as surprising or actually as interesting as the surrounding set. Once again we were given 60+ looks made up of tweed and wool jackets with a few dresses thrown in for good measure. To me at least I have difficulties distinguishing collection without having to refer back to the accompanying stunts or backdrops. This being simply due to the fact that what we know as Chanel is what is continues to come down the runway season after season with not much change.
One of the few pieces I actually was excited to come across was that of a simple mini dress with no tween present. The off white pearlescent fabric of the dress protruded out in the form of a wrapped bow. Which cleverly ballooned out to make up the skirt, whilst it flatteringly finished around the bust before being tucked in at the tightened waist. The dress being finished off with the same style mini bowler hat that all the other models adorned in a matte black, was paired with a pair of thigh high boots that found their way up into the dress itself. What I liked most was the contrasting properties of each piece against one another. Whether it be the matte of the hat against the lustrous sheen of the dress, or the black vinyl boots with the softer pink hidden on the lining of the tied bow. The entire look was the most modern in my eyes and held an adored sense of playfulness and youth that seemingly was lost in more than half of the other looks.
I’ve already touched upon the magnificence of the scenic surroundings, but yet it brings questions to the agenda Karl has for the brand. I side with Mimma in the sense of its testing miss use of resources and money, but the fact is that like she says people look forward to the featured stunts more so than the designs themselves. I think it was the perfect way to celebrate the City of Paris, but was its grandeur really necessary when the real one was only a short while away and acts as the true symbol for the country and City in question. I also like the idea of the audience looking like pedestrians simply and naturally being seated enjoying a persian day, as luxuriously dressed models walk on by. However Stephen raised an important thought on if we should simply appreciate what Karl presents for us no matter how theatrical it may be, because one day down the line we wont have Karl to gift us the spectacles he has done so many times at Chanel.
The penultimate collection was courtesy of the pioneering designer, Iris van Herpen. A true vanguard of the industry, her technological infused designs leave audiences in awe due to their sheer perplexing design and execution. From the exploration into 3D printing to the mimicking of water crashing against the human body, her work is solely her own freshly plucked from her ever astonishing capability in the realm of science, engineering and ultimately design. This collection focused once again on water but in a less so literal sense, compared to some of her past work. Now with the added element of air, her pieces embodied the fluid movement that both have the potential to generate. A forward thinking artist of our time, Iris will continue to amaze due to the equally as growing advancements in technology in which she fuses both herself and her visions with.
In a considerably intimate sized collection in comparison to the previous work of Karl, only 18 looks walked the show and each one was as captivating as the next. Showing a range of techniques from pleating to laser cutting, skin-tight mini dresses were just as detailed as voluminously structured kimono coat/capes. But out of all the sculptural looks, one of the ‘simpler’ pieces was my running favourite, this being an above the knee dress with long sleeves and a high collar. When in motion the delicate laser cut pieces shift and posses a complicated depth, through the metallic quality fo the fabric reflecting every angle of light coming into contact with it. Paired solely with a simple black ankle strap heel, the focus of your gaze is put wholeheartedly into understanding the dress and its construction. When I first saw the look come out however I was reminded of a famous McQueen corset, from the Fall 1999 collection, ‘The Overlook’. The corset was made up moulded metal coils that encapsulate and restrict the female form, which gained attention from many for its extreme design. The comparison doesnt undermine Iris as the more time you spend looking at her dress, the more evident that is completely reflects her distinctive identity that she owns as a designer.
The equally minimal set reflected the underlining theme of the entire collection, whilst featuring a literal sense that enhanced the subtly found in the clothes. Encased in boxes of water, musicians part of the group ‘Between Music’ played their instruments whilst being fully submerged. A range of instruments from violins to the naturally produced vocals courtesy of the singing member, who has been perfecting her breathing techniques for years in order to produce the sounds through a stored air bubble in her throat. The sight of the members suspended within the water adds an eerily uncomfortable atmosphere to the show. With the water having a green hue that clouds the figures identities, my first thought was to that of the recently released film, A cure for wellness. Ideas of medical labs and even extraterrestrial narratives came to mind, with the designs acting as the final outcomes of a clearly succesful experiment into the realm of nature, science and the human body.
The grande finale of the panel focuses on a collection from John Galliano as creative head of luxury french fashion house, Maison Margiela. Having been appointed as Creative Director in the still recent year of 2014, John has been exploring the possibilities that are on offer with the platform of Margiela at his disposal when it comes to his own creative visions. Through this collection I feel that he has finally found a level of comfort in himself once more as a designer. Even though it’s not his founded label he respects the house, through his inclusion of quintessential elements that the brand is known for. In this show it was the dominating use of mixed fabrics and deconstruction that was evident throughout. With it being one of if not the most significant technique of the brand, it held an enriching level of Galliano-esque flare that has been missed. The collection itself was built around a beloved essential for many, the humble trench coat. The story of how this came to be is rather a humorous one but it goes to show how the simplest of moments can lead to so much more. As John throws an old trench on to take the dog outside, unexpectedly he bumps into some friends and decided to go out with them whilst still wearing just the trench he found on his way out.
Unlike some of the collections ive talked about in this post, this one was the hardest for me to pick from when it come to my favourite. In the end it was a trench coat that stole my heart, however it comes to no great surprise that it isn’t just your average trench. A shear nude fabric makes up the entirety of the coat buckle and all, that lays over the top of a patterned knit and flashy gold boot. The overall look feels like a developed take on a seemingly common look worn in bitter air of the years later months. As many trenches come in muted colours that include a beige based nude, the sheer factor adds a lightness that works well with the chunkier piece on show underneath. The see through coat could be in reference to the gesture of women wearing nothing but a belted coat as they go surprise their lover at the office. If so it wouldn’t come to much of a surprise as John has never been shy of adding a little sex appeal and risqué elements to his work and clearly so even at Margiela.
The final location of the show was actually a last-minute decision due to unforseen circumstances. It however would only work in the brands favour as in the end it felt only fitting. This being as the collection was shown in the brands infamous design headquarters. The minimalistic white surroundings bought the clothes out even more so that the former venue ever could. Wherever it may have been, it wouldn’t have the same impact as seeing the clothes walk the halls in which they were painstaking designed and put together in. It felt incredibly natural and fitting for them to be shown there, some would even call it fate. The entire show held a overwhelming urgency of modern-day glamour, with an artistic sculptural quality I am only happy to admire. The intimate nature of the small-scale collection meant the rather personal attention to each piece was felt as they deservedly walked the room and onto the camera role of everyone there.
BRANDON BAILEY 