El Efecto Balements - Luster Magazine

Originalmente publicado en Lustermagazine

¿Será la velocidad con la cual se mueve el mundo actual?, ¿el abominable culto al selfie? ¿o el nuevo individualismo que, por encima, pareciera no seguir los fenómenos de las masas? Tan diversos fueron los mensajes entregados durante la semana de la moda de París, que atrás quedó aquello clasificar a una firma dentro de la estética del lujo austero de Céline o dentro de la abundancia decorativa y nostálgica que caracteriza a Prada.

Ahora bien, si hubo un mensaje que se sobrepuso a todo el ruido fue el de Demna Gvasalia, el creador de Vêtements y el nuevo diseñador de Balenciaga: “streetwear es el nuevo couture”,  o algo por esas líneas. Sin embargo, aun al evocar los volúmenes del maestro Cristóbal, resulta difícil digerir la colección como Balenciaga. Desde luego, queda claro el alto potencial comercial de la muestra y que se beneficiará del bombo actual que goza el reciclaje “margielista” de su nuevo director.

Lógicamente, Gvasalia proviene de la famosa escuela de Antwerp y de las filas de Martin Margiela y Louis Vuitton. No en vano su retoño, Vêtements, no es más que una recreación de la estética deconstructiva y urbana de Margiela en sus inicios. Evidentemente, la hazaña de Gvasaglia no radica en reinterpretar al diseñador belga, sino en haber logrado conectar con el público joven como nadie lo ha hecho recientemente.

Como consecuencia, el efecto Vêtements no solo ha llegado a Balenciaga, sino que se ha colado tanto en marcas debutantes (Off White) como veteranas (Kenzo y Miu Miu). Centrarse en el producto y divorciase de cualquier concepto pretencioso ha sido la bandera y éxito de Vêtements, pero ello no implica que funcione para todos. Sin embargo, deja en el aire la pregunta de si es momento de simplificar el mensaje a la hora de vender.

La realidad es que Balenciaga o ‘Balements’, según sea su preferencia, hará sonar las cajas registradoras y pondrá una sonrisa en la cara de François Henri-Pinault, actual presidente del conglomerado Kering, anteriormente llamado PPR (Pinault-Printemps-Redoute). Mientras tanto, Martin Margiela observa como hacen fortunas con su legado y como John Galliano utiliza su nombre para dar rienda suelta a su circo de fantasías frustradas.

5 Razones Para Amar La Colección Otoño/Invierno 2014 de Chanel

 @descosido_ para lightthelove.com

Ningún desfile causó tanto furor esta temporada como el suntuoso centro de compras @CHANEL. Aquí hay cinco poderosas razones por las cuales no podemos dejar de comentarlo:

Foto: @descosido_

Sexto Sentido: Club Magazine

Club Magazine 67
Sexto Sentido by Graciela Martin

Luís Buchinho Fall Winter 2013

El diseñador portugués desde 1996 presentanta sus colecciones en la semana de la moda de Lisboa y desde 2009 forma parte del calendario "off" de la semana de la moda de París.

Viktor & Rolf Fall Winter 2013: Poised Subversion

Viktor Horsting and Rolf Snoeren have been toning down their collections these past few seasons aiming at a more commercial approach of their aesthetic. Even if recent shows are not as explosive as before, they are far from boring and carry a lot of their unmistakable staple pieces.

Louis Vuitton Fall Winter 2013: Boudoir Stories

Images by Ludwig Bonnet courtesy of Louis Vuitton.

    Ladies leaving after what seemed to be a passionate, perhaps secret, encounter in a fancy, decadent hotel came to mind as models walked out of 50 or so doors and strolled down a corridor wearing nothing but lace-lined negligees under long fur or robe-like coats. Even though they appeared to be on their way out, Vuitton's globe trotting woman would not be leaving her boudoir this season, and most certainly not the luxury she is accustomed to.

           And this luxury, which the house is known for, took a smart and elegant turn by banishing the infinitely copied Monogram and Damier canvas to emphasize on the unique savoir faire of the maison by focusing on the quality and treatment of the materials. Imitators will have a much harder time emulating favorites like The Pochette Accessoire, the Lockit and the Speedy which were done in marabou, curled goose feather and waxed crocodile with handles in carved, aromatic woods antiqued by hand, horn, or precious stones.

           The sensuous allure of this collection not only lied in the silky slips hidden under big masculine overcoats, long velvet dresses and fragile lace, but in the seductive surface treatments and menswear turned feminine through cut and embellishments, feather embroideries and sparkling dégradé effects at the hem.

Miu Miu Fall Winter 2013 : Miuccia's Basic Instinct

Photo: Style.com

             Leave it to Miuccia Prada to close Paris Fashion week on a high, fun and flirty note. The show opened with a series of navy sailor-back coats and suits lined with astrakhan. Then followed parkas (even a strapless version) over calf length skirts and long, zipped ensembles in polka dots and stripes in pink, yellow, teal, red and black. The silhouette was hourglass or streamlined and cinched at the waist. All the looks came with stripy stockings and fifties style shoes with metallic shades with chunky rubber soles.
    The label I like to think of as Prada's younger sister (and much like one) seems to have –in most cases–  a less cerebral approach towards clothes. In fact, Miuccia herself confessed that she had no time to make this collection and that she had based it on instinct. Apparently her instincts have guided her well into a very feminine, sporty and contemporary take on dressing this season.
           One thing is for sure, weather she approaches clothes right from the gut or from a very planned and orderly manner she always manages to make others follow her lead.

Chanel Fall Winter 2013: Taking Over the World

MIU MIU Fall Winter 2013 Video

Louis Vuitton Fall Winter 2013 Video

ALEXANDER MCQUEEN Autumn/Winter 2013: Burton's Religious Experience

      Photos: Style.com
       
       In January it was announced that the Alexander McQueen show would be cancelled and a small presentation would take place instead, since creative director Sarah Burton is nine months pregnant with twins. This could very much explain why only ten looks were shown; and, taking into account the incredible craftiness and exquisite details of the collection this might as well have been an Haute Couture showing.
            It was pure ceremonial splendor, a majestic interpretation of ecclesiastic wear with a nod to Elizabethan times: rich white lace, pearl embroidered bodices and hoop skirts. Models' necks were wrapped in gorgets while diamond-patterned gilded cages enclosed their heads (they sort of reminded me of Fabergé eggs).
          While some of Burton's religious frocks looked by no means sinless, like the black short embroidered dresses paired with pearl-studded fishnets, for instance; they added up to the drama in contrast to the more angelical, lavish gold embroidered corsets with voluminous white skirts and ornate ruffs. Darkness and light, the pure and the the impure, lustfulness and innocence, were always part of the Lee's complex dialectic.
              Burton has not only summed up McQueen's heritage beautifully into a succinct, yet magnificent collection; like her mentor, she has evidenced once again her incredible ability for showmanship.

Giambattista Valli Autumn Winter 2013

  
 Photos: Courtesy of Giambattista Valli

        Giambattista Valli has proven more than once to be more than just a designer, he is a true couturier. This time around he managed to translate his skill swiftly into an easy, down to earth ready to wear collection that glided through masculine and feminine elements.
       He opened with a series of white and cream looks consisting mainly of sporty jackets with furry collars over white outfits and draped chiffon skirts. He moved onto shinier fabrics and a group of black looks that included sweaters with holes placed on purpose; the only pieces in the showing that had a slight "punkish" appeal. Fur was ubiquitous: trims, coats, vests and even a short evening black dress lined underneath with chiffon.  In addition he turned to his usual animal prints combining them with black to create sheath dresses or a sweater and draped skirt outfit. Only a couple of looks sported a red over black floral motif print. Bright red, baby pink and pistachio green were also part of his chosen color palette. The show closed very much like it opened: a cream coat over a long chiffon dress, this time with a crystal-embellished neck.
       Talking about embellishments, Valli's love of decoration was unusually absent in this presentation; something which played very much in favor of the glamour and wearability of this outing.

SAINT LAURENT AW2013: The Slim on Slimane's Teen Spirit Collection

Photo: Style.com

           
     If critics said last season's show looked it had been styled by Rachel Zoe or James Goldstein,  could we say it was Courtney Love's turn this time?
           What is the point of buying Saint Laurent or YSL, or whatever Slimane wants to call it —this name changing thing seems to have brought some sort of identity crisis upon the brand because we don't know what its known for anymore— if it looks like clothes from any low end store? Topshop or Urban Outfitters perhaps. Seriously, lets be honest, if you saw a girl in the street wearing any of these pieces you would think she got them anywhere in a mall, not at Saint Laurent. Game changing as it is, this is not the luxurious elegance Mr.Saint Laurent was known for in his day. There is no doubt Slimane is extremely talented and capable of great things, he has proved it many times in the past. But right now, he is making it difficult for others to see that all of these transformations (name changing, PR handling included) at the house are something other than a personal whim. 
           Sure, it will sell. Sky Ferreira will wear it (is she an YSL woman?) And even though the commercial factor is obviously key —no sales, no money, no business— it is not all.  Yves Saint Laurent changed fashion, his influences still live on. There has got to be respect for that.
          Slimane is a master when it comes to tailoring, why didn't we see more of it? We get he wants to do something different, not a typical thing any other designer in his shoes would do, we just don't get what it is. Saleable or not, in the spirit of YSL ot not, these clothes are not moving forward. Or are they?
       Maybe it us who have it all wrong. Maybe he knows better that anyone how to bring in the revenue and that's all that matters. Maybe this is fashion now, and this is what the public wants. Then again, I hate mass clothing.

Givenchy: Is Riccardo Tisci ready to depart?

Photo: Style.com

             Some well known critics are calling it the show of the season.  Really? I would like to think "a show of the season" has a lot more to offer than rehashed stuff from former outings. He's been at the helm of Givenchy for 8 years, not 15. Should he have at least waited for the 10 year mark?  Well, not necessarily, even though it would have made more sense.
It feels this collection is just blatantly aiming to resell past hits; which of course, is not a bad move commercially speaking.
        Fashion is, supposedly, about bringing in the new, the now, and making it timeless (like Philo at Céline), not going back in (recent) time to redo old clothes. This just feels like when it's Sunday afternoon and you are too tired from cooking all week, so you throw together all the leftovers from the past few days (plus a few more ingredients) for dinner. Sometimes, surprisingly, it ends up being tastier (even if not original) than the initial dishes. Food analogies apart, this is sort of what went on at Givenchy.
     Recreating the Haute Couture tulle embroidered skirt for ready-to-wear was a brilliant idea, just add the famous best selling sweatshirts and belt them with what looks like a mountain climbing rope and metal loop buckle and you've got instant street style favorites. I can already hear the cash registers go "cha-ching". The color-striped python boots, half-zipped biker jackets turned into corsets,  pretty paisleys, Victorian flower prints and plaid shirts will surely become sought after by Tisci for Givenchy fans. This was also one of the few shows that offered outerwear other than the ubiquitous oversize coat: points for that. Still, it's hard to consider it a hit collection when something as essential as the feeling of novelty is missing.
            Let's not forget Givenchy skipped Haute Couture this January. Is this presentation and that recent absence a sign that Tisci is failing to come up with something new? or is he ready to depart?

Céline: The Philo Files

Photos: Style.com

Philo has proven to be one of the most innovative and consistent designers of the moment, if not the most. She delivers season after season elevating her game in every collection. This is without a doubt  one of her best outings to date.

Ackermann is the Man

Style.com

      Haider Ackermann is one of the true geniuses of this generation. He brings something fresh to the table season after season whilst staying true to his unique, androgynous yet feminine aesthetic. His exquisite choice of fabrics, use of colour, impeccable tailoring and unequivocal way of layering pieces capture the quintessential woman of today: powerful, cosmopolitan, multifaceted who can look exceptionally glamorous and be comfortable in her clothes (and skin) at the same time.
           Ackermann is always looking forward, there is not a hint of vintage or nostalgia in his offerings (ok, there was a very subtle nod to the 80s today); a huge advantage over peers who base their collections on recreating trends from 30, 40 and over 50 years ago. Fashion in general should move forward without looking back so much. Prada manages to pull it off because she always makes it look so incredibly modern, so now.
         Today's show had outstanding outerwear that picked up on the oversize trend sneaking up almost everywhere this season.  Fitted or loose trousers ruched over boots under oversize knits and jackets gave the sensation of a relaxed yet very elegant, luxurious style.
       The belgian-born designer is also a master in creating rich mixes of textures and colour and making them come together in an effortless way. This time around he opted for chocolate brown python leather, velvet, metallics, houndstooth, black leather, forest green and an ocasional black and white graphic print.  He even brought in fur for the first time, making his closing look -a knee length coat thrown over an immaculately white pantsuit- a notable statement.

Balmain: is Mc Hammer the new Creative Director?

             I am so glad to finally read an honest review about Balmain AW13 (Jessica Michault for Nowfashion). I could not believe other respected fashion authorities fail to mention (or recognize) this looks dated and is a too literal interpretation of the 80's. I don't see in which universe of the present time this is a good collection. Yes, the fabrics might have been exquisite and the execution impeccable (c'mon, Rousteing has the finest ateliers at his service duh!) but I don't see these clothes going anywhere other than a delorian ride with Marty McFly back to 1986. I couldn't help but wonder if the soundtrack was "Can't Touch This" (a 1990 song, but still) and if McHammer would take the bow at the end of the show. It's obvious that Rousteing is far too young to remember the 80s, otherwise he would have know better than to bring back the Thriller times of Michael Jackson.

Runway images: Style.com

My Take on Alexander Wang's Debut For Balenciaga

Photos courtesy of Balenciaga

         Filling the shoes of someone like Nicolas Ghesquière at a house like Balenciaga is no piece of cake. For Wang's first outing, I found it to be quite an accomplished collection; however, it's not the out of this world, agenda setting show which Nicolas Ghesquière was known for. Wang did not depart much from the traditional volumes and shapes of the house which is a smart move from someone who is beginning to settle in. Still, I would have liked to see him make this collection more his own.
         Wang's eponymous label has had a much stronger and clearer point of view. Then again, taking over at Balenciaga would be a tough challenge for anyone, no matter how talented. We grew too attached to Ghesquières' wonders season after season. We saw the house flourish before our eyes over 15 years. It's a harder task than it was for Simons taking over at Dior because Galliano (scandal aside) wasn't at the top of his game when he left, and the heads of Dior wanted a clean slate, Simons just had to bring in his game. Whereas at Balenciaga, everyone couldn't get enough of Nicolas; when he left we were suddenly cut off of fashion heroine. It will take a while to see if Wang can provide that rush again, hopefully a new one.
 Even though it was not outstandingly innovative, the collection had some wonderful saleable pieces. The textures and marble-like embroideries were quite beautiful, the cracked effect finish, final fur looks and pants will surely be on fashionistas most wanted lists. Still, I can't help but feel nostalgic when I think about Ghesquières final collections before departing.

Gallery: Rochas Autumn Winter 2013

 
Spontaneity and confidence define the essence of elegance in dressing for Rochas creative director Marcos Zanini.  This season the designer played with classics in his own upbeat quirky way: he suggested a rich variety of cozy and warm textures in a palette of camel, black, white, grey, burgundy, mustard yellow, pale pink and baby blue.
 Languid pajamas for day were cut in silk chiné or crepe de chine backed in silk. Menswear-leaning blazers done in double-faced wool, were softly rounded through the bust and waist.
 Coats were elongated and oversized ranging from a cocoon back pale blue wool bouclé to coffee Prince of Whales Check. They were cleverly mixed with versatile separates like pencil skirts, cropped, bright trousers and heavy knits.
      Needle punched wool sweaters in shades of apricot and mallard green were belted over swooping fifties style circle skirts ( one was done in a baby pink double duchesse silk chiné with royal blue mini cabbage roses).
          Loafers gave a leisurely nonchalant feel, whilst heels and tight calf length skirts brought back femininity and elegance. 
    Overall it was an outstanding collection full of wearable, luxurious pieces that exude that Parisian chic elegance without trying too hard, very Rochas indeed. 

Paris Fashion Week Street Style

   

Anna Dello Russo

Great fashion isn't only on the runways, it's right out there in the streets specially amid the stylish crowd of the Paris show goers. Here, at the Valentino show exit, we caught up with Anna Dello Russo, Diane Pernet and a other great fashion-savvy attendees. PHOTOS: Elena Pastor