Iron Woman

The harshness of folded blades, the reflexes of metal and the details that recall rivets and internal mechanisms. A woman that breaks into daily life with her new iron lady aesthetics.

Byzantine Fashion

Originally small Greek colonies of Byzantium and of modern Istanbul, its imperial court have always presented an endless source of inspiration for the fashion industry, which is Constantinople. The imperial court was renowned for the adornment of its halls and the clothes and jewelry worn by the emperor and the empress in public ceremonies.

Garments had strong social implication in the Byzantine Empire. Colors varied according to the social status of the wearer; purple, for example, was a privilege of the imperial family. 

Many designers devoted entire collections to the influential empress wrapped in a long gold embroidered crimson purple cloak, a diadem on her head and the hair braided with ornaments embellished with valuable gems and pearls.

Romeo Gigli was inspired by the empress when he created his first collection showing in Paris, the F/W 1989/90 collection suitably entitled “Teodora”. Gigli’s collection was the result of a detailed research through the history of costume that recreated the Byzantine atmosphere thanks to garments designed following the dressmaking traditions of that period.

Gigli drew on those same shapes, fabrics, decorative elements and embroideries and gave them a contemporary appeal. His muse was a woman clad in long draped coats embroidered with gold and beads enveloping the body in a graceful 3D effect. The prevailing color was crimson violet, the imperial color par excellence. Accessories – earrings, bracelets and necklaces – were authentic replicas of those worn by Empress Theodora.

Byzantium and Theodora inspired garments and colors feature heavily also in Chanel collections. And with the Paris-Byzance pre-fall 2012 collection the reference became unequivocal. The show was accompanied by the release of a book which comprises some photos of the well-known Ravenna mosaics taken by Karl Lagerfeld. Compared to Romeo Gigli’s creations, in the Chanel collection the reference was not so much to the structure of the Byzantine garment but was rather concerned with the ornaments. The focus was on details, colours and accessories. While the lines and shapes of the garments remained faithful to the signature codes of the Maison. Walking down the runway were modern “Theodoras” flaunting lavishly embellished garments that exuded majesty and opulence. Green, violet and purple dominated the collection although what truly attracted the attention were the beads and stones decorating the clothes and the model’s hair. From the invitation card to the hairstyles, from make-up to the decor that transformed Chanel headquarters in rue Cambon in an imperial palace, nothing was left to chance.

The collections by Gigli and Chanel represent an explicit reference – and tribute – to the style of Byzantium, an empire that is undoubtedly far away in time but whose allure is still very relevant. The East seen through the eyes of Western fashion.

Philippine Fashion Week 2012 Hits the Redial Button

It was the a full-blown week for the Philippines Holiday2012 collections. Designers presented their collections  at the SMX Convention Center at the SM Mall of Asia from May 22nd  up to the 27th.

So why did the week feel like a broken record?

Originality was easy to explain. Resemblance of designs were really obvious. If you to take out pieces from each designer and put them together, it makes a more cohesive collection.

Yikes. Philippine Fashion Week isn't one for change, but couldn't they have hit a fashion button other than redial?

For the holiday, fabrics are still innovative, but shapes weren't out of the box, with tough hounds tooth tunics, cropped black trousers worn with layered tops or crystal dresses and Medges.

Dimple Lim, who started with bondage dresses that went to draping and mixing of different fabrics in variations of sheen. It was a definite hodgepodge of colors, prints and textures. Lim  surely didn't hold back for this collection.

Minimal, mature and in no way shy, Xernan Orticio went bold in blood red ensembles with models crowned with thorns. However there was nothing really new in terms of cut and silhouette. His collection was stamped with his signature fit, strategic cut-outs and penchant for geometric details.

Albert Andrada and Edgar San Diego's collections were also abit generic: Chinese buns, high collars, geisha dresses and structured shoulders. They might as well have hung out a sign that said “I ♥ China!”

Kermit Tesorio's collection was all in for animal cruelty. He opened with a black coat that sported real fur. It wouldn't be a surprise if those horsehoof booties came from horses. The collection was a mixture of crystals and sequins that had a trill for the outlandish. The finale was a gold crystal body suit that was reminiscent of On Aura Tout Vu.

Perhaps, then, Ariel Vasquez do as he pleases, his collection of naïve shapes and romantic floral cutouts. Mr. Vasquezisn’t a hit-and-run designer. If he suffers from anything, it is that he still has a hungover for summer. He was taken with floral details and cropped pants. His models didn't really wore anything aside from the unbuttoned shirts.

Menswear as womenswear? Check. Androgynous chic? Been there, done that. But, it seems like one trend that’s going higher and higher as the heel sit requires is women’s wear worn by men. The male models at Chris Jasler’s show have been convincing us that pointy-toed heelless pieces are the it thing.

Many designers for the Philippine Fashion Week Holiday 2012 lacked a clear identity. Or, in the case of Bench, the style is so tied to the beliefs of its designer, Rajo Laurel, that one has the feeling it would instantly come unraveled if he left.

The week closed with Jerome Salaya Ang's collection rip-off of Burton's Spring/Summer 2012 with Lee's Autumn/Winter 1997-98 that could be smelled miles away.What made it such a McQueen give-away were the showercaps, Marie Antoinette prints, and not to mention the circular cut, highwaist,and oscillating ruffles.It's the perfect low-end McQueen look-alike collection.

Holiday 2012 presented collections that followed global trends. It was good to see Philippine Fashion finally catching up with the worldwide stage. But did Holiday 2012 set new trends on the runway? Maybe in a few years time it would.   

Winter Diving

Thermo-insulating and semi-waterproof materials. Ergonomic shapes that wrap the body into geometric structures. The only feminine touch is provided by the long dresses inspired by mythological figures like the mermaids.

Scene Queen Phemomena

Having a new philosophy for life: half-way between comic book characters and appearance obsession, skeletal teenagers with flamboyant looks, the scene queens.

They’re between 13 and 25 years old with an ostentatious appearance with long, teased, techni-colored hair. They are the scene queens, a youth phenomenona that has freshly arrived in Italy subsequent to first appearing in the US punk rock world in the 80s.

The basic ingredients for the scene queen style, aside from having the teased hair – which is dyed in every possible colour, “spectacularised” with enormously long extensions and adorned with clips and tiaras – the make-up is essential. The principal features are the eyes: these are exaggerated and given a vamp look with solid outlines of eyeliner that is blended into a “comma” shape at the sides of the eye. Lipstick and multi-colour nail polish, does the rest, and the look is paired with hot pants, tops, singlet, leggings and mini-skirts. There is Hello Kitty everywhere in the accessories, with stripes, spots and checks in the designs, laddered tights and incredibly extravagant footwear. 


The most popular shades take in vibrant, candy schemes – the palette runs from fuchsia and turquoise to brilliant violet mixed with black, a trace of a darker style and perhaps the only detail that connects the scene queens to the emo world. The over-all result is vampish, with a mix cartoons and doll-like all at the same time. The common denominators are the sunglasses with heart-shaped lenses and doll-mascot that every scene queen takes around with her. The mood is completely free of any kind of gloominess: in fact, it stresses eccentricity and inventiveness in achieving a unique look.

Via the web, they've been accused,of anorexia and of being shallow, but the scene queens hit back, asserting their right to their unrestrained look, a style free of ideology. It implies a strong streak of exhibitionism and stresses their unique doctrine, a doctrine of appearances and of putting themselves centre-stage. It’s the basic leitmotif of our generation.

When Designers and Stylists Become Androgenous

Finding someone to effectively collaborate with requires a similar work flow, a process that makes sense to you both -- not to mention having similar views on what makes a good design – otherwise there is no point in starting. In other words, you are looking for someone who is on the same wavelength – not an easy task. This is true for all kinds of collaborations, not just with designers.

Manila, May 11

The conversation about stylist and designer collaborations in fashion industry has taken on new contours recently thanks to the  F*rue 2012 fashion show presented here Friday, that was to be "the true fashion of sorrow", thus causing a severe case of aesthetic and cultural whiplash.

The show presented the works of amateur designers heavily depending on stylists to be at least presentable on the runway.Accessorizing as well as finishing the clothes and fitting them to models were all part of the stylist's job before the show.

For several years,collaborations between fashion designers and  stylists have been a norm in the industry.Did the show push the lines between fashion designers and stylists? Are they merely part of a designer's creative prerogative? Or are they the product of lemming-like style-makers who feel compelled to take advantage of others?  It would be a welcome relief if the majority of those designers who put their designs on the runway that night took a stand and refused to let the stylists do their looks for them. What is the point of doing a runway show if the creations unveiled weren't truly done by them?

To be fair, a bit of headway was made into promoting and planning the show by the designers themselves. But having lacked the knowledge as well experience in designing and sewing, they compensated with hiring stylists to do the job.

The fashion school that the designers came from, had the role of giving them the proper equipment they needed in order to be ready to face the world of fashion. What reflected of the school's reputation, that prided itself with its star-studded alumnus was the complete opposite.

But after a volley of exhausting complaining, defending, finger-pointing and declaring one's right to creative license, a new conundrum has presented itself: The stylist make the clothes look good for the client but when do the two draw the line? And when does styling become too much in a profoundly larger than life industry?

The main responsibility of a fashion stylist is to develop innovative and creative ideas for enhancing the appearance of a client to get a successful photo session.They only enhance the appearance of a look made by the designers and not finish sewing them for clients.

The only sorrow that the F*rue 2012 Fashion show had, was featuring promising designers who didn't even knew the difference between fashion designers and stylists.

Somewhere between designing and styling lies good fashion. And somewhere between those extremes there is also a definition of collaboration that is inclusive, sound and fair.

Femme Details, Masculine Shapes

For next winter womenswear is inspired by the guards' uniforms at Versailles. Femme details, masculine shapes. 

Rachel Zoe

Rachel Zoe designs a three-piece suit in Prince of Wales fabric with a velvet jacket to wear featuring a white poplin shirt by Aglini, while an outerwear by Salvatore Ferragamo: a double-breasted coat with distinct golden buttons.

Salvatore Ferragamo

Inspired by French uniforms a 3D-textured silk shirt by Salvatore: Ferragamo to match with, pants with tucks by Alysi and the tweed coat by Chloé. 

Suggested accessories: the flat leather riding boots by Fratelli Rossetti or the black crocodile model proposed by Givenchy with gaiters, to be paired with the long black  gloves by Roberto Cavalli.

Fairest of them All

Jeweled Gowns

The most sophisticated details for Fall/Winter 2012-13, Bibs or textures embroidered like true jewelry pieces. Now the key-accessory is a garment which shows off sequins, stones and diamonds, delicately married to haute couture textiles.

Jewel-like gowns for the red carpet: Alberta Ferretti chooses a long pleated dress that distantly recalls 19th century models with the collar and the neckline opulently overstated with stones and sequins, creating a trompe l’oeil, jewel-like effect. More austere, the orchid-colored dress by Au Jour Le Jour with embroidered bib and iris-colored crystal drops.

Christian Dior's
ethereal woman

Christian Dior puts forward an ethereal woman that stages impalpable fabrics falling delicately over the body, in distinction with the necklace with floral motif stitched on the dress. Shadows and lights for the dress by Roberto Cavalli which plays with dark hues and mirror image in matching tones over the whole dress, paired with a sequined short bolero jacket.

Gothic-inspired
Aquilano

Gothic-inspired, the lady of Aquilano.Rimondi houses a petrol-hued dress embroidered with golden accents and thin feathers, enriched with a bib featuring a Greek Cross that evoke that of the templars.

Fausto Puglisi
mini-dress

A belt with a golden shield and wings ornamenting the waist, while the neckline is enhanced by the verticality of the chainmail along the shoulders straps and a rock-and-roll soul for the mini-dress by Fausto Puglisi that features giant rhinestone and golden studs creating geometric patterns.

Lanvin
LBD

Lanvin choose instead to embellish a classic little black dress in silk satin with a cascade of colored stones, from amber to aquamarine green, featuring baroque-inspired details.

Megalopolis She-Warriors

Eye popping lights, excited megalopolis to walk through like she-warriors dressed up in a provocative and cinematic period, with a desire for the unreal.

Blue Chanel

A metallic-hued pilgrim, luminescent, as envisioned by Chanel, in a blue also proposed – or better unsaddled – by Ann Demeulemeester’s cuts. Much digitalized like a screen concealing the secrets of a hacker, the blue haunted by thin stripes for a sportswear-style suit with jacket by Peter Pilotto.

Mary Katrantzou
 labyrinth-like print

Over-enhaced shoulders, shown at Fendi, like the power style of the Eighties, mixed in with the 40's elegance, like the long number by Mary Katrantzou, on which a labyrinth-like print complicate the already complicated retro-futuristic path of the new urban Avatars. A reinforced glamour, highly structured, with revisited and exaggerated neckline, shoulders, waist and hips, or otherwise fluid yet metallic, like in the tulle and pleats and obi-style dresses by Fendi, showing a liquid modernity.

10 years later, in 2007. Viktor&Rolf cage their models inside a device that make them glide,put into cages, with garments suspended just like their pace. Like Birds of Paradise of tomorrow, the women clad in Moncler Gamme Rouge and presented like living artwork – caged in showcases - at the Royal Palace, in Paris in February 2007.

Thierry Mugler's
"Les Insectes"

Thierry Mugler more than anyone else  exaggerates the already sexual aggressive mood of the Eighties and becomes iconic. Especially with the dress in tulle and patent leather, a boudoir-style corset including garter belts and long sleeves and gloves, with bare skin only on the thighs, between stockings and a corset. Or, back to the idea of the Bird of Paradise, his “Papillon” dress, plumage that explodes on the bare back with colored feathers, opened up forming a wide wing: summer 1997 Haute Couture, “Les Insectes” collection.

In collaboration with Swarovski,Hussein Chalayan, celebrates the 111 years of activity of the fashion house with a sequence of dresses that open up like flowers, thanks to mechanical internal devices, and also to summer 2008.

Seraph Impulse

Credits: roblim, geraldine anne nuqui, kevin herrera, 

Cosmic Love

Untainted colors, geometric figures and voluminous structures: a woman becomes an elegant astronaut to revitalize the scenes of 2001: A Space Odyssey, the film by Stanley Kubrick.

The clothes evoke a 60s spacesuit: oversized volumes like in the jacket showcased by Peter Pilotto in London for A/W 2012/2013, with a more space-age spirit provided by the lame-effect fabric.

Mary Katrantzou chooses a dress with a geometric patterned mini-breast-plate, enhanced by an extremely rigid material.

Patterns are conceptual, like the wrap skirt by Leitmotiv or the jumpsuit with Korean collar, by Erdem.

An ample and capacious skirt for the metallic blue dress by Marc by Marc Jacobs and for the dress by Stella McCartney with patterns inspired by Starry Night, the painting by Van Gogh.

Starry Night

Effortless cuts adorned with jewel-like detailing, textures that redesign star maps. For  evening Autumn Winter 2012-13 women's wear dresses up, in a magical mood of starry nights.

John Galliano's multi-
layered silk chiffon dress

The color palette includes all nuances of blue: Chanel makes a shirt with a reflecting-effect, 3D appliqué along the seams, while John Galliano dresses an ethereal and feminine woman with a long, multi-layered silk chiffon dress. An ensemble inspired bymen’s pyjamas with micro-dot pattern by Paul and Joe worn with a blue velvet blazer.

Diane Von Furstenberg's
all total black outfit.

Diane Von Furstenberg was inspired by the night of San Lorenzo, the night of the shooting stars, with her all black ensemble with white micro-dot pattern. A modern interpretation by  Antonio Berardi for his ensemble, jacket plus mini-skirt added with bronze sequins.

Python Heel by
Pollini for Manish

Focusing on glittering accessories: flat shoes by Bloch, black and gold peep-toe shoe-boots with python heel by Pollini for Manish.

the Runaways

The Runaways’ outrageous fashion did not appeal to many fans. Jett chose clothes in an androgynous wardrobe, like her red jumpsuit, whereas other members wore lingerie. They were a band, sound, and style way ahead of their generation and the mass market just wasn’t ready to receive them.

Cutrone added that the look, which was more masculine than what women had worn in past decades, came from the freedom women established in that decade. "All of a sudden, you can get a job and make your own money. This was a happening time, because they were free," she said. "They were empowered. They were the band; they weren't with the band."

Robert Verdi, a celebrity styist said that while the look might feel fresh to the actresses' fans, their parents will unquestionably remember wearing many of these styles. "I think what's interesting when you look at the Runaways' style is that it's new to a generation but old to some people," he said. "The entire sort of shaggy haircut ... it's sort of punk rock, kind of intellectual, but still grungy”.

"What stands out is the shaggy hair. The mullet. That look will become popular again with young girls, because anyone who's done it before won't do it again," he added, pointing out a few other trends that will take off. "The cork shoes. The big, chunky kind of hippie shoe. The faded, light-blue jeans. The fitted military shirts with big collars. Nothing's loose. ... All those things will be things girls like to wear."

Heatherette designer Richie Rich said it is all about the T-shirts. "I love '70s fashion. I love that whole hippie-dippy feeling ... that vibe of being cooler than school," he said. "It can translate into the streets. People wearing rock-and-roll T-shirts, real chopped-up hair. I'm not so certain about the whole bootleg jeans. It's something fun, something different."

Richie described the style as cool tomboy and said the aesthetic can surely be very modern. "It will give us that aesthetic, like cool T-shirts and accessories and lots of eyeliner ... versions of the hair, like, fun and punky," he said, adding that "cool leather jackets and T-shirts" will come back in style. "It's street fashion. They almost revolutionized that in so many ways."

Welcome to the Tea Party

An Edwardian Fashion Movement

It was the start of something new, a wind of freedom in the early 1950's in England. Teenage gangs appeared in the East End of London; they were called the Cosh boys. These Cosh boys horrified English society: razor attacks, robberies, fights among gangs and also against law enforcers. 

After the Second World War England woke up with a headache!The Press looked-for a new term to call these gangs with their numbers escalating each day. The word selected was Teddy Boys.It seemed that the 1^st  newspaper that used the name Teddy Boy was the Daily Express on September 23rd 1953. 

The teddy boys in their "uniforms"

The teddy boy uniform was initially copied from the stylish Edwardian gentleman like those under the control of Edward VII (1901-1910) - their 'social superiors'. This fashion trend was tailored, and featured stretched high necked jackets, at times of velvet, or velvet trimmed collar and cuffs, and were ruled in either flowery or intense colors. This was paired with brocade waistcoats, bootlace or slim jim tie, narrow 'drainpipe' pants,a wing-collared top and suede shoes, which were formerly regarded as 'gay men's shoes' or 'nancy boy shoes'. A crucial fashion accessory, along with the cycle chain was the comb.

The Teddygirls adopted American fashions like toreador pants and circle skirts, though they tend to wear low cut tops to make themselves look less prissy.

All teddy boys went to immense lengths to keep their hair in place. Fighting messed up the hair - hence the ever at hand metal comb. The DA was the main style while there were many kinds like 'the bop', 'the Tony Curtis', 'the be-bop', 'the tevee', 'the panama' or the 'back sweep and crest'. It was greased and usually with sideboards.

The new generation of teddy boys

The British pop boom of the 1960s brought with it fresh music and new youth culture.The original Rock and Roll pubs appeared as do Rockers who liked the same tune and rode great British motorcycles. Teds and Rockers went well among each other and the leather motorbike jacket became the standard wear for many Teddyboys and Teddygirls for day-to-day use and for rough pubs. The bike jacket could guard against motorcycle accidents, razor attacks and spilled beer in a way that the drape jacket by no means can. 

The 1970's saw Glam Rock and Rockabilly styled bands in Britain and, while the Teds loathed most of this music, it brought a resurgence of interest in Rock and Roll. Many young people bought second hand wrap jackets, hid holes with badges and became a new generation for Teddyboys and girls.The new generation of Teds developed a tough personality: hair lacquer happened to change grease, the drapes were brighter and, occasionally, the drain-pipes were tighter. Steadily, the new generation were exposed to one of the roots of R'N'R : Rockabilly and Country Music. 

As the time went on, the urban working class association with the 'Teddy Boy' dress spread further and with the commercial hits of movies like 'Rock Around The Clock' and resultant media attention. a person causing nuisance of any kind was blamed on Teddy Boys. Just as all health problems today are held responsible on 'smokers', it became almost fashionable (and it sold papers) to blame any unsocial crime on 'Teddy Boys'. A youth only had to have a Tony Curtis haircut and he was instantly labeled 'a Teddy Boy'.