yeah i've been saying it for years and years now,presentations are just more exciting and more personable that catwalks are. the level of intimacy one has with the works and what goes into them,just cannot be represented on a catwalk.
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What I love about alaia -other than it's simply beautiful -is that it's not stupid 'fashion'. He doesn't have a complete schizophrenic change of direction every season just to be different, desirable and seem current -he manages it whilst producing timeless pieces which fit into his very particular aesthetic. If you look at, say, the random selection of alaia pieces on ebay they're all beautiful, they're all wearable and they all make sense together as a body of work: you really can't say that about prada or marc jacobs. I think I like Westwood partly for the same reason.
The lace-print jacket is beautiful. I'm not sure about the shoes. The presentation is just so grown up: it makes ysl with its stupid robot hairdos look like a bit of a farce.
Before the Paris collections ended, I stopped by Azzedine Alaia’s place to see what he was preparing for fall. I found him upstairs in the studio, which consists of many racks of samples and dress patterns, stacks of shoe boxes, ironing boards and, at the far end, near a huge mirror, his ample work table. Alaia offered me a chair next to the table. A number of writers had trooped by over the weekend and we probably all had the same thought: Gee, what a fantastic way to look at clothes.
Alaia had made a runway out of a path between some dress racks. The first thing he showed me was a violet-gray wool coat that was snug through the waist and then opened to a skirt of tubular-like pleats. Each pleat was formed by an arch of stitches at the top. It’s intriguing that a number of designers have shown rounded shapes—Alexander McQueen, Marc Jacobs (the ribbing and necklines at Vuitton), the fellows at 6267, with their fluted leather collars. Alaia’s coat suggested to me Moorish architecture. A knit jacket in pinkish beige wool had a high rolled collar and dolman sleeves; the flaring skirt was ribbed and ruched in places. The outfit was all a knit, as were sleeveless tops and matching skirts that combined sheerness and curly bands of wool.
What Alaia is able to do with knitting is remarkable. He produces ruffles and poodle curls that look like lace. The skirt of one outfit, in a boiled black knit, consisted of vertical rows of overlapping circles, like sugar cookies arranged on a buffet tray. And all of these effects are a technical extension of recent work, like the pleated caterpillar dresses worn at last year’s Costume Institute party by Stephanie Seymour and Naomi Campbell, and the new crinkled cotton shirt dresses for spring that use embroidery anglaise.
here is the full cathy horyn article (also photos should be credited to jean-luce huré, not ms. horyn
The photos are exactly the same ones I posted. And as a source for photos I put nytimes.com, which should be enough. (Style.it, catwalking.com don't really sound like photographers to me)
And the text was credited to Cathy. (Doh!)