Tomo Koizumi NYFW SPRING 2020 READY-TO-WEAR

“I want to make something that is not commercial,” said Tomo Koizumi before his Spring 2020 show. The designer, who caught the eye of Katie Grand on Instagram six months ago and subsequently flew to New York one week later for his debut, felt no inhibitions about so boldly bucking the trends of the American fashion landscape. He has set up shop in Marc Jacobs’s atelier and uses Jacobs’s Madison Avenue store for his shows, and in this, he has become a spiritual successor to Jacobs’s fashion for fashion’s sake mantra of late. Koizumi’s clothes are more costume than ready-to-wear, intended to provoke and inspire. To make the point, he cast model Ariel Nicholson in a one-woman show in which she dressed and undressed in seven garments, twirling and gasping to the ambient tunes that echoed throughout the store.

As a display of fashion, it was breathtaking. Nicholson, the 18-year-old trans model and Raf Simons muse, projected well beyond a full painted face of glitter and a conehead ’do. As attendants dressed and undressed her in Koizumi’s ombré ensembles, she oohed and aahed, trying to keep the audience enthralled. No disrespect to her performance, but the structure and fabrications of the garments were enough.

All seven are made of hundreds of meters of ruffled Japanese polyester organza and utilize only one zipper. The construction is fascinating, with the ruffles backed by a cloth lining, suspended above each other like cascades of cake frosting. The silhouettes were pushed far beyond those of Koizumi’s debut, with jumpsuits, bodysuits, and ballooning sleeves layered under scarves of ruffles and bows. The designer said he chose the bow motif because he wanted the collection to represent his gift back to the people who made him. “I just want to bring joy,” he said simply. Mission achieved.

Source: VogueRunway

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YAJUN SS19 NYFW

YAJUN+STUDIO+Spring+Summer+2019+hMlrXdL-lP9l.jpg

Strange loop: Humans habitually live in a well-defined world, and everything they do has reasons and meaning.

YAJUN

For Spring Summer 2019, Yajun examined the "isomorphic" relationships of men, women and clothing. Inspired by the art of M.C. Esher where everything seems to loop with no beginnings or endings, this collection attempted to push the conformity of design and practicality to greater heights. Presenting menswear and womenswear on the runway this season, Yajun invited the audience to rethink how garments are worn and viewed, offering endless possibilities of interpretation. Jackets, shirts, pants and pockets were wrapped in "strange loops" leaving you to decide its placement, form and function. Yajun SS19 is a collection for the modern thinker with an open mind and a great sense of style.

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KENZO Presents "Le Renard Bleu"

kenzo presents le renard bleu

KENZO continues its exploration of culture and global identities with the second installment in its Folio series. “Le  Renard Bleu” is a multi-disciplinary endeavor working across music, video, dance and print by talents  including: musicians  Midori Takada & Lafawndah; directors Partel Oliva; krump artist Qwenga and  photographer CG Watkins. The film and folio present KENZO’s – La Collection Memento N°2 and Spring-Summer 2018 collections.

KENZO FOLIO N°02 began as a rhythmic discussion between musicians Midori Takada (of no relation to Kenzo Takada, founder of the eponymous fashion house) and Lafawndah on the subject of the fabled myth, The Blue Fox. As transmitted by Takada, the fox appears in both ancient Senegalese and Japanese folktales as the trickster archetype; belonging both to the heavens and to the earth, the fox is the agent of chaotic good, shaking the world up when its energy has become stagnant. Above all else, the fox is famous for its cunning nature. This is the first piece of music on which Takada has worked in close to 20 years and its creation originated in her preoccupation with the legend of the fox. After constructing a vivid instrumental composition dramatizing the spirit animal’s journeys, Lafawndah responded – in her inimitable mix of fairytale and undertow—with lyrics capturing a dialogue between her and the fox himself.

Shot in Tokyo, Partel Oliva imagined a contemporary cinematic frame for the myth of the fox to reappear, creating a hybrid of choreography and narrative around Takada and Lafawndah’s performance of their joint composition (also titled Le Renard Bleu.). Qwanga expresses original movement within the piece as the titular fox.

KENZO FOLIO N°02 will be available from kenzo.com and later on the Antenne Books website antennebooks.com This is the second edition of KENZO Folio. The first issue “Gidi Gidi Bu Ugwu Ze, Unity is Strength” by photographer Ruth Ossai and director Akinola Davies Jr. was released in April 2017.

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Iris van Herpen Spring 2018 Couture

Iris van Herpen spring 2018 couture

Iris van Herpen titled her Spring 2018 couture collection "Ludi Nature." van Herpen shares her deep personal feelings about nature with Vogue and says: “I think we as humans don’t even come close to the intelligence within nature. It’s funny how people think that nature is simple and technology is complex—it’s the opposite; technology is simple and nature is complex.”

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HERON PRESTON DEBUTS “SHOW HOUSE” COLLECTION FOR SPRING/SUMMER 2018 AT PARIS MEN’S FASHION WEEK

For Heron Preston’s second collection, the designer developed pieces with subversive humor. Taking the second step into building his unique point-of-view, Preston dipped into his personal history to create a graphic heavy, referential collection inspired by kitsch, from artworks like Jeff Koons’ ceramic sculptures to the designer’s own memories of paintings in display homes in the Northern California suburbs. This season also marks the debut of Heron Preston womenswear, presented alongside the men’s collection.

“Show House” is named for pristine model homes in suburban subdivisions, the staged living spaces with eerie perfection, teeming with non-life, designed to imagine a mini-utopian future. Memories of walking through a show house when his parents moved to the suburbs of San Francisco inspired the graphics in this collection, like an image of a bowl of fruit (wittily branded with the word “fruit” on the back) as well as the setting for the lookbook, shot outside Milan in a vacant space meant to evoke the empty lots of a subdivision-in-progress.

Preston’s research also led him to the origins of his work as a designer, modeling one piece after a display tee used for years at Jonathan Embroidery Plus on 38th Street in Manhattan, meant to show the various screen printing techniques the store offered. Preston borrowed graphics from the display shirt, from an exploding baseball to a rattlesnake, a playful homage to nonsense-as-aesthetic.

The Heron Preston Spring/Summer 2018 collection also includes new painting graphics that feature the Heron bird, borrowed from John James Audubon’s depictions, as well as the brand’s hallmark “Style” embroidery, printed in Russian. Utility wear remains a major influence for the brand, with cargo and workwear elements present in both the men’s and women’s collection.

For womenswear, Preston focused on leather elements and cropped silhouettes balanced with oversize tees and hoodies, along with a new rollout of small leather accessories.

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PORTS 1961 SPRING SUMMER 2018 MENSWEAR

The spring-summer Ports 1961 menswear collection is a celebration of diversity, strength and optimism.

Fashion reflects the world around us. In a time of challenge, fear and disillusion, it is the creative person's role to try to deliver a message of love and hope.

For the past several seasons, Milan Vukmirovic has been exploring the urgency of love and the importance of fraternity, unity and solidarity.

Inspired by Jean Michel Basquiat’s work and personal style, African cool-setters and the hip-hop scene in New York in the early Eighties, Milan Vukmirovic presents an upbeat collection with a very positive message.

Brimming with color and meaning, this collection is a window that opens to the world and defends the richness of difference.

This season, Ports 1961 draws in equal measures on street culture, contemporary dress and local artisans. Embroidery and prints point to far horizons.

This collection is, in its own way, a message of solidarity for the Black Lives Matter movement that began in the street and on social media in 2012. The fight against violence and for justice for black people resonates today in an even wider, bigger way.

Now, more than ever, EVERY LIFE MATTERS. EVERY COLOR MATTERS. ONLY LOVE MATTERS.

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