Eccentricity
Active Member
- Joined
- Nov 3, 2005
- Messages
- 1,003
- Reaction score
- 3
Gianni Versace by Donatella Versace, Milan
An innovative addition that supplements her spectacular Spring collection, there is a new lease of life and influx of optimisim within Gianni's once waining fashion house - Donatella's reversal from uninspired, unecessarily bold and vivid garments to a more subdued splash of colour - deep but not promiment shades of blue, serene shades of white and understated carmel/brown tones featured in her winter collection. In many respects, the past two seasons have been a redemption for Donatella's house, who seems to have adopted a new ethos of progression with each season; new concepts, fresh venues and updated accsessories.
Gucci, by Frida Gianni in Milan
Somewhat of an ironic tribute to the heyday of Tom Ford's sultry Gucci woman, Frida's efforts at the house show a compassionate yet reluctant attempt at commercial sucsess - a realisation that dated, mature prints and mens striped sweats as all featured last season are not within the intrest of Gucci's fundamental market. Gucci's collection retained its elegance whilst maintaining a certain tackiness we can all associate to the designers based within Milan - injecting a sense of youth and fun into the somewhat bland brand that Gucci has become since parting with the incomparable Tom Ford.
Alexander Mcqueen, by Alexander Mcqueen in Paris
There are some fashion moments which are revolutinary, paving the way for reform or a wholly new ethos still not adopted within the industry. Alexander Mcqueen's show in Paris epitomised a desire for change: the garments themselves within their own calibre, distinct from the predictability of the clothing put on runways around Paris and New York compulsivley each season. Within true Mcqueen fashion, the show implemented the benifits of theatrics (take note, Mr Galliano) though not allowing showmanship to dominate over the beauty and elegance of the clothes themselves. This is fashion for the future, and i strongly suggest editors, clients and consumers alike carefully observe Mcqueen's following collection - his talent and originality is genuine - truley rare within this repetative industry in which we dwell.
Marc Jacobs, by Marc Jacobs in New York
Courage. Amidst the commercial backdrop of New York - it is incredibly difficult to satisfy both fashion commentators and editors in addition to a loyal, domestic all-american consumer. Marc Jacobs achieved this feat brilliantly at his New York show. Layering was central to the collection itself, the clothing suitable and fashionable for the upcoming Winter season.
Balenciaga, by Nicholas G. in Paris
An aristocratic, wealthy woman has suddenly been thrusted into the limelight at Dolce and Gabanna, Jean Paul Gaultier and Balenciaga fashion shows. Shuning last seasons victorian laced references, Nicholas brought a new concept to Balenciaga: Garments with volume. A true pioneer in foreseeing future trends within the industry, Nicholas progressed the house into conceptual paradise; combining volumnous but bearing the ankle gowns that basked in their immaculate tailoring. Balenciaga is a beacon for innovative design - there is some intellactual thinking behind the garments - and not the eccentric type we can recall for the likes of Victor & Rolf or John Galliano's efforts at Dior - but a completley commerical and marketable type of eccentricty - one that can be adopted by mainstream consumers and fashion critics alike.
RANKING
1 Alexander Mcqueen
2 Balenciaga
3 Marc Jacobs
4 Versace
5 Gucci
An innovative addition that supplements her spectacular Spring collection, there is a new lease of life and influx of optimisim within Gianni's once waining fashion house - Donatella's reversal from uninspired, unecessarily bold and vivid garments to a more subdued splash of colour - deep but not promiment shades of blue, serene shades of white and understated carmel/brown tones featured in her winter collection. In many respects, the past two seasons have been a redemption for Donatella's house, who seems to have adopted a new ethos of progression with each season; new concepts, fresh venues and updated accsessories.
Gucci, by Frida Gianni in Milan
Somewhat of an ironic tribute to the heyday of Tom Ford's sultry Gucci woman, Frida's efforts at the house show a compassionate yet reluctant attempt at commercial sucsess - a realisation that dated, mature prints and mens striped sweats as all featured last season are not within the intrest of Gucci's fundamental market. Gucci's collection retained its elegance whilst maintaining a certain tackiness we can all associate to the designers based within Milan - injecting a sense of youth and fun into the somewhat bland brand that Gucci has become since parting with the incomparable Tom Ford.
Alexander Mcqueen, by Alexander Mcqueen in Paris
There are some fashion moments which are revolutinary, paving the way for reform or a wholly new ethos still not adopted within the industry. Alexander Mcqueen's show in Paris epitomised a desire for change: the garments themselves within their own calibre, distinct from the predictability of the clothing put on runways around Paris and New York compulsivley each season. Within true Mcqueen fashion, the show implemented the benifits of theatrics (take note, Mr Galliano) though not allowing showmanship to dominate over the beauty and elegance of the clothes themselves. This is fashion for the future, and i strongly suggest editors, clients and consumers alike carefully observe Mcqueen's following collection - his talent and originality is genuine - truley rare within this repetative industry in which we dwell.
Marc Jacobs, by Marc Jacobs in New York
Courage. Amidst the commercial backdrop of New York - it is incredibly difficult to satisfy both fashion commentators and editors in addition to a loyal, domestic all-american consumer. Marc Jacobs achieved this feat brilliantly at his New York show. Layering was central to the collection itself, the clothing suitable and fashionable for the upcoming Winter season.
Balenciaga, by Nicholas G. in Paris
An aristocratic, wealthy woman has suddenly been thrusted into the limelight at Dolce and Gabanna, Jean Paul Gaultier and Balenciaga fashion shows. Shuning last seasons victorian laced references, Nicholas brought a new concept to Balenciaga: Garments with volume. A true pioneer in foreseeing future trends within the industry, Nicholas progressed the house into conceptual paradise; combining volumnous but bearing the ankle gowns that basked in their immaculate tailoring. Balenciaga is a beacon for innovative design - there is some intellactual thinking behind the garments - and not the eccentric type we can recall for the likes of Victor & Rolf or John Galliano's efforts at Dior - but a completley commerical and marketable type of eccentricty - one that can be adopted by mainstream consumers and fashion critics alike.
RANKING
1 Alexander Mcqueen
2 Balenciaga
3 Marc Jacobs
4 Versace
5 Gucci
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