Alexander McQueen F/W 09.10 Paris
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ElectricAlyce
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The details really saved this on all levels, it's been a long time since I've seen a collection this much punk. This is anarchy, anti-everything - but still on a mature level. It's not about teenage rebellion, but a rebellion against the industry which he is a part of himself. A retrospective intertwined with trash, simple and powerful. This could easily come across as juvenile done by any other designer, but McQueen manages to make this so proffesional in construction and detailing that he pulls it off. The worst part is that even though this isn't really wearable by itself, I think there are many people who would like to wear this - maybe in a fantasy land, or a carnivale, a masquerade. Fashion lies in a borderline terretory, not just between art and business but fantasy.
Bidwell: I agree and disagree. I love the fact that catwalk shows are available online almost as soon as it's over, it evens things out and you still have the possibility to watch and discuss the shows and the pieces. Should the online community slow down, and reflect and watch rather than consume? Probably. Should fashion just be for the elite few? Not at all.
Bidwell: I agree and disagree. I love the fact that catwalk shows are available online almost as soon as it's over, it evens things out and you still have the possibility to watch and discuss the shows and the pieces. Should the online community slow down, and reflect and watch rather than consume? Probably. Should fashion just be for the elite few? Not at all.
I feel there is a genuine debate to overexposure of fashion but I admit probably not best on Alexander's thread.
By the way, fashion has historically always been for the few. When you can buy a watered down cheap version of designers sweat and tears for 1/100th the price at knockoff brands who shall remain nameless, BEFORE the originals are in the stores, it dilutes not only the message but the clientele for the designer themselves.
The same predicament that the music industry suffers in a way. Intellectual property must be guarded to some extent to prevent dissemination too quickly.
By the way, fashion has historically always been for the few. When you can buy a watered down cheap version of designers sweat and tears for 1/100th the price at knockoff brands who shall remain nameless, BEFORE the originals are in the stores, it dilutes not only the message but the clientele for the designer themselves.
The same predicament that the music industry suffers in a way. Intellectual property must be guarded to some extent to prevent dissemination too quickly.
chloehandbags
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^ Absolutely!
chloehandbags
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I don't believe fashion, or even designer fashion, should just be for the rich, at all - even though I fully appreciate that much of it has become absurdly overpriced in the last few years (the prices have certainly put me off buying it, anyway!).
However, as the bubble has now burst and commodity prices have come right down (or, as I believe, rationalised), I assume the retail prices of R-T-W could come down, too (if they were allowed to); especially if more people decided it was worth buying.
However, people are unlikely to decide that (especially in an economy like this) if they believe that it will be considered out-of-date within a season, or two.
The quicker fashion moves and the more throwaway it is allowed to become, the fewer people will see the benefit in 'investing' in designer pieces.
If allowed to continue in this vein, fashion will eat itself.
So, for those who are complaining about fashion slowing down, maybe think about the possible consequences of it doing otherwise...
However, as the bubble has now burst and commodity prices have come right down (or, as I believe, rationalised), I assume the retail prices of R-T-W could come down, too (if they were allowed to); especially if more people decided it was worth buying.
However, people are unlikely to decide that (especially in an economy like this) if they believe that it will be considered out-of-date within a season, or two.
The quicker fashion moves and the more throwaway it is allowed to become, the fewer people will see the benefit in 'investing' in designer pieces.
If allowed to continue in this vein, fashion will eat itself.
So, for those who are complaining about fashion slowing down, maybe think about the possible consequences of it doing otherwise...
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IloveDiorHomme
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Some outfits are over the top, but at least, it's an amazing show and it makes us happy I think.
kinkexplosion
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From my friend's multiply blog, he has a very interesting story:
Long before i ended up doing fashion, i used to design home accessories for my aunt's handicraft business. Usually, i would study a material, say a new way of weaving abaca. And from that i would sit with a pencil and a bulk of paper. I design some of our products apart from those which are just raw and consumer friendly materials which they can manipulate and use according to their own ideas. I remember these abaca balls which we use to produce and export. We export them to France and we submit them to trend shows and expositions abroad. One of these items appears below. And i vividly recall how hard it was for us to produce that order because of frequent rains and the lack of model which we can use as the mold for the huge light orbs. They are woven randomly in their specific molds and are attached to a circular metal ring on their mouths to give way for the final finishing of the product in China.
They used to come in pastel shades until i decided to try them in black.
I thought they just use them as home accessories specifically as lamps until i saw these images.....
Amazing.
And if ever McQueen is reading this, please leave me a message. I need an internship under your house.
NOW NA!!!!
=:-)
Source: http://acidgrin3.multiply.com/journal/item/237/WOW
Long before i ended up doing fashion, i used to design home accessories for my aunt's handicraft business. Usually, i would study a material, say a new way of weaving abaca. And from that i would sit with a pencil and a bulk of paper. I design some of our products apart from those which are just raw and consumer friendly materials which they can manipulate and use according to their own ideas. I remember these abaca balls which we use to produce and export. We export them to France and we submit them to trend shows and expositions abroad. One of these items appears below. And i vividly recall how hard it was for us to produce that order because of frequent rains and the lack of model which we can use as the mold for the huge light orbs. They are woven randomly in their specific molds and are attached to a circular metal ring on their mouths to give way for the final finishing of the product in China.
They used to come in pastel shades until i decided to try them in black.
I thought they just use them as home accessories specifically as lamps until i saw these images.....
Amazing.
And if ever McQueen is reading this, please leave me a message. I need an internship under your house.
NOW NA!!!!
=:-)
Source: http://acidgrin3.multiply.com/journal/item/237/WOW
Alexander McQueen: Creative to the extreme
PARIS: From the artistically arranged mountain of trash to the full-on red lips of the models, Alexander McQueen's spectacular was a shivering fashion moment — especially in these restrained times.
With the bravado of a master director, the designer sent out everything bolder than life — giant houndstooth checks, lampshade hats, hair upswept with giant curls rolled over metal drink cans and disturbing dresses made out of black crow or white swan feathers. Naturally (for this designer) the models were tortured into dresses that hobbled their feet, making each runway step treacherous and giving a discomforting misogynist feel to the show.
The effect was as if all McQueen's fantastical visions from his 15 years in fashion were on the runway, enlarged by a computer click. There were also all his defining silhouettes, especially the lean, precise tailoring — but refreshed with new fabrics giving effects like glossy bubble wrap.
Just the knitting — once such a grandma fashion category — oozed with imagination, as wooly serpent coils wound around the neck.
McQueen called this autumn 2009 collection "an ironic and illusory exploration of the concept of re-invention." He was, indeed, looking back at his own and fashion's past, citing the elegance of Audrey Hepburn (with a reference to his stint as designer at Givenchy) and Dior's houndstooth checks. There were so many of those checks — even mixed with McQueen's favorite bird prints — that you could not helping wondering whether this show, with its overt references to Dior's New Look, was also a riposte to his fellow British designer John Galliano, who has forsworn high drama on the runway.
As an exercise in creative imagination, the collection was extraordinary — even if it showed only McQueen's aggressive energy, rather than his gentler, romantic side. The invitation itself spelled out the message: An apparent Dutch Old Master in which the sweet-faced woman in a white wimple turned out to be wearing plastic bag. That effect was in the show, where an elegantly ruched dress, in papery nylon, looked like it was fashioned from a garbage sack.
Was this the moment for McQueen to give full vent to his tortured imagination? Such clothes are not a buyer's delight — although you could pick out a slender suit here and a graceful dress there. The designer, at 39, is young to look back at his own oeuvre. And there was something unsavory about the p*rn star lips and the general attitude toward women. But it was emotional to see McQueen push himself to the furthest reaches of creativity, as though it was wild, last stand. Let them go to the showroom to see the rest!
suzy menkes, iht.com
PARIS: From the artistically arranged mountain of trash to the full-on red lips of the models, Alexander McQueen's spectacular was a shivering fashion moment — especially in these restrained times.
With the bravado of a master director, the designer sent out everything bolder than life — giant houndstooth checks, lampshade hats, hair upswept with giant curls rolled over metal drink cans and disturbing dresses made out of black crow or white swan feathers. Naturally (for this designer) the models were tortured into dresses that hobbled their feet, making each runway step treacherous and giving a discomforting misogynist feel to the show.
The effect was as if all McQueen's fantastical visions from his 15 years in fashion were on the runway, enlarged by a computer click. There were also all his defining silhouettes, especially the lean, precise tailoring — but refreshed with new fabrics giving effects like glossy bubble wrap.
Just the knitting — once such a grandma fashion category — oozed with imagination, as wooly serpent coils wound around the neck.
McQueen called this autumn 2009 collection "an ironic and illusory exploration of the concept of re-invention." He was, indeed, looking back at his own and fashion's past, citing the elegance of Audrey Hepburn (with a reference to his stint as designer at Givenchy) and Dior's houndstooth checks. There were so many of those checks — even mixed with McQueen's favorite bird prints — that you could not helping wondering whether this show, with its overt references to Dior's New Look, was also a riposte to his fellow British designer John Galliano, who has forsworn high drama on the runway.
As an exercise in creative imagination, the collection was extraordinary — even if it showed only McQueen's aggressive energy, rather than his gentler, romantic side. The invitation itself spelled out the message: An apparent Dutch Old Master in which the sweet-faced woman in a white wimple turned out to be wearing plastic bag. That effect was in the show, where an elegantly ruched dress, in papery nylon, looked like it was fashioned from a garbage sack.
Was this the moment for McQueen to give full vent to his tortured imagination? Such clothes are not a buyer's delight — although you could pick out a slender suit here and a graceful dress there. The designer, at 39, is young to look back at his own oeuvre. And there was something unsavory about the p*rn star lips and the general attitude toward women. But it was emotional to see McQueen push himself to the furthest reaches of creativity, as though it was wild, last stand. Let them go to the showroom to see the rest!
suzy menkes, iht.com
ultramarine
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Hahahahah ... that was genius ... but no, seriously ... we havent seen a show like this -not even in Paris- for AGES ... do you think this re-hash of his greatest hits is a cheeky way to tell us to move on??? Or he'll just play the game as long as hes profitable for Gucci group?
Playing along with the "how does he earn money?" question ... hes relatively young for a designer ... isnt it a bit mind blowing that hes got the liberty to do a collection like this when he DID revised his archives right after the passing of Izzie Blow (may she rest in peace).
I cant believe how he can keep on surprising!
ElectricAlyce
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The quicker fashion moves and the more throwaway it is allowed to become, the fewer people will see the benefit in 'investing' in designer pieces.
If allowed to continue in this vein, fashion will eat itself.
So, for those who are complaining about fashion slowing down, maybe think about the possible consequences of it doing otherwise...
As recession makes people question their shopping habbits, the first things that happens isn't that people stop buying designer garments, but that they buy more "classic" pieces and buy things they can use for the next seasons too.
So, if fashion should just be a reflection of what people buy, we would see a serious slowdown, even more than what has been vitnessed at F/W now. More classic pieces, more season-less pieces, maybe even more anonymous pieces.
But luckily (sadly?) most designers are creatives at heart, and will always have their ideas and visions. Some wilder than others. I think McQueen can lead by example here, as chloehandbags (!) said the garments must follow the buyers, while still, in my opinion, push forward or follow an artistic mood. And here lies the genious of McQueen, as he can do different things on the catwalk and in the showroom/outlets. Think of it, isn't it just the perfect mix? You use the catwalk to set a mood, create a show, bring some wow, put the... ART in fA(RT)shion (heh, that was forced), bring it all forward and make a statement and then transform this mood into tailored and wearable pieces of clothing that isn't contemporary per se, and can be invested in. It is, as I see it, the perfect balance, because a catwalk show has the potential of beeing so much more than just a moving showroom-display with music and celebs, so why restrain?
ElectricAlyce
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Heh, very fitting for contemporary fashion: 80s is back in! no, 90s, no, 70s, no, wait, 50s... nah, it's 80s this fall.
In 20 years nobody will make the 00s come back because it was like sitting a whole day watching reruns of shows that you had seen before. Just to be overly hash about it.
chloehandbags
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I've actually heard the reverse (on CNBC and on here) - that people have been leaving the so-called classic (not that I believe there is such a thing, but that's a different story!) pieces on the shelf and where they have been buying at all, have been buying statement pieces (providing those pieces can be mixed into their existing wardrobes).
Not necessarily - it is possible to slow down without sacrificing creativity, at all and in fact, it may even help designers expand their creativity; by providing them with the time to develop an evolution of a theme, or themes.
Rather than putting them under pressure to produce diametrically opposed collections, every season, with no continuity; which does not.
I think McQueen is a designer who proves that that can be done, successfully (as was Tom Ford at YSL [before he was sacked, of course!]).
Why sadly?
I think you've totally misunderstood me.
If so, you're not alone, people on here often seem to; perhaps due to a prejudice about my screen name?
As I say (and first said when I first joined), I believe fast fashion kills creativity, as it becomes forced and by slowing down, designers are given the time they need to develop and refine their visions.
My point is that fast fashion really only benefits the highstreet fast fashion copycats (and perhaps, also, more mature designers (60+), who have designed it all before and so, can do it all again without any practice).
I totally agree!
That's not to say that I don't, also, love beautiful, wearable, clothes on a runway, too - I think both approaches can work, as long as they're done well and designers are allowed the time to develop their ideas to the full.
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chloehandbags
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Oh, they will - the '80s were very derivative of other eras, too and they're, obviously, back on the catwalks in full force.
You may not be able to see it now, but in 20 or 25 years time there will be characteristics of the '00s that will set, what we see now, as pure '80s, or '40s (etc.) rehashes aside from actual '80s and '40s (etc.) fashions.
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