Giles - A/W 05 - London

[fashionaddict1]

Photo's from style.com

 

[fashionaddict1]

Beautiful collection from Giles Deacon - IMO

 

[travolta]

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[travolta]

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[travolta]

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[Kimkhuu]

I saw two outfits I like, the rest I don't like.

 

[Spacemiu]

I like this

 

[softgrey]

i am really drawn to this collection...
i don't think every piece is successful...but i like the point of view and the shapes and the textures...

anyone know the background on this guy?...
thx for the pics fashionaddict and butterb......

 

[stilista]

I do like his collections and think this is a good one which will keep the department store buyers happy. I think he is a nice guy too - looks a bit nerdy.

Softgrey, from Showstudio.com
Biography
Born in 1969 in County Durham, designer Giles Deacon made a marked impression in debuting his own label 'Giles' with an Autumn/Winter collection for 2004. Deacon trained at St Martins School of Art in the early 1990s. It was on the strength of his graduating collection -which featured nature references and prints- that a meeting with Tom Ford was set up, and he was invited on board to take up a series of appointments with fashion houses in Paris and Milan. His most high-profile appointment came in 2000 when he joined Bottego Veneta as head designer to Katie Grand's stylist role. The hard-edged debut collection -using white, metallic and neon- hyped the reputation of the house considerably. Shortly afterwards he was re-appointed to another position designing for Gucci itself. His 'Giles' collection is a closer reflection of his own tastes, much less confrontational than his work at Bottego Veneta, though he is again collaborating with uber-stylist Katie Grand. The emphasis in his A/W 2004 was on strict, 1940s curves, tweed pencil skirts and silk blouses with p*ssy bows. Another close creative collaboration is with illustrator and textile designer Rory Crichton. He worked closely with weavers Stephen Walters and sons - a reflection of his commitment to use British mills as far as possible.

 

[softgrey]

oh thanks so much stilista...i was hoping you were around...

so he's the guy who did that bottega collection with katie grand...????...
i remember that very well...lots and lots of hype...(without a ton of substance imho)...i remember liking the shoes from that collection...but the neon leopard cotton twill blazer i could have done without....as well as the plastic jewelry...hmmm...

this is soooo different...wow!...
thanks love...

 

[stilista]

You're welcome!

I remember that neon leopard blazer in my nightmares!! and you're so right, that collection didn't live up to the hype.

I think he saved up all the good stuff for himself!!

 

[travolta]

I've been curious to see what kind of collection he would turn out for this season after last seasons--I liked his approach with the accessories with the clothes and the print. As for this season, I like it as well...he shows obvious restraint--but like you soft grey I am compelled. I like the black jacket with the red hat. Here is more info from style.com...

Spring 2005

For all the hype surrounding Deacon, it's still too early to say whether or not he's really going anywhere. He may have earned local raves for his seventies-suburban-ladylike vibe, but hardline critics find it impossible to imagine what woman could possibly wear those jazzily striped jacquard suits with the matching 6-inch wedges. Or find an occasion equal to one of his flowing printed scarf dresses or electric-blue sunray-pleated dinner gowns. Some might mutter, too, about the overtones of Vivienne Westwood tailoring—not to mention a smidge of Jean Muir here and quite a lot of pure Stepford Wife cheese there. On the other hand, there's enough that is genuinely odd in Deacon's aesthetic to make it almost grotesquely fascinating. He has a small boy's interest in animals and insects, which crop up in motifs of apes, bees, scorpions, and lizards, or outsize marquetry plaques, which he fashions into vast pendants or bags. All of which provides a certain unsettling undercurrent to the pseudo-glam pastiche. That may not be a bad thing in a season of too much normality. But the jury's still out.

 

[saturnine]

Quite hit and miss.

I think that yellow dress on Eva Herzigova is essentially hideous, but there is something about it I really like, the embroidery and pom-poms are cute.

 

[jennifer~]

I love the fabrics and the prints in use. I love this overall, despite the 'misses' present.

 

[Lena]

love it, he's THE new star of the London scene and he gets better season after season, well deserving the attention

thanks for the topic and the photos guys

 

[kit]

Something tells me - GIVENCHY - here he comes !!!

 

[Lena]

i think he actually got the Givenchy post no?

 

[kit]

i think he actually got the Givenchy post no?

I think it's STILL in the balance .

 

[Lena]

he proved he's perfect for Givenchy

suzy menkes reviews Gilles International Herald Tribune

It was the most immaculate audition since Madonna did Evita. And if Giles Deacon does not get the vacant design job at Givenchy, it will not be for want of trying.
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His eagerly awaited show in London Fashion Week came at a crucial moment in his career, when the 34-year-old designer has gone right down to the wire with Givenchy's owner, LVMH (Moët Hennessy Louis Vuitton). The show Deacon sent out was Hubert with a vengeance, from the ballooning sleeves and grand gowns through to fresh blouses and skirts.
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While other London designers are still opting for street cred, Deacon took his cue from Paris couture in the grand old days when Balenciaga was Givenchy's mentor and the spirit was as haute as the show's high-ceilinged venue - an 18th-century church designed by Nicholas Hawksmoor and now the home of the London Symphony Orchestra.
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"There are 1950s couture elements but interpreted in a modern way and with details that took our fancy," said Deacon backstage, after replying "no comment" to the burning question about the Givenchy job.
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The show opened with a sculpted black jacket, with rings of velvet inserted at the waist and leggings for the bottom half. But things instantly turned grander as a big, bold coat swung out and another jacket had a rose whorled in chiffon at the back. By using satin and velvet and wafting feathers, Deacon made his cocktails of fabric seem suited to after-six hours, although day wear surfaced as a pony-skin coat, worn with a jaunty red hat, and as a pants suit mixing black and white in a graphic way.
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After experience at Bottega Veneta and Gucci, Deacon is no fashion novice and his clothes were accomplished, whether it was the flourish of a mutton sleeve or an evening gown with a fiery red print on velvet. Knitted Lurex dresses with lattice work and pompoms were classy and could have been developed. But Deacon is a designer of very grand gestures, from the voluminous coats, through chain patterns inset on gray flannel (was he auditioning for Chanel too?) right down to the mules with giant bows like some extravagant 18th-century courtier. The result was bold, beautiful in its deep teal green colors but with a hint of vintage - as if the ghosts of couturiers past inhabited the show.
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[liberty33r1b]

oh, i love this collection, very, very beautiful!