original aesthetic
I honor legend designers who were/are making their names bigger in the world.

I love Lee Alexander McQueen

Some pictures aren't mine unless I say so.
I'm just sharing my inspiration with all collections.

Hiroshi SugimotoYohji Yamamoto Spring/Summer 1983


Issey Miyake Spr/Sum 1995  photography by Platon, my scan


Inspired by 3D modelling software glitches, Noa Raviv has designed garments that bring the digital into a physical space.  Classic Greek and Roman sculptures are the starting point and then worked into hi-tech garments.

Maison Martin Margiela autumn—winter 1998—99.
Le Foyer de L’Arches, La Grande Arche de la Defence, Paris. A subterranean Space under the Arch de la Defence. Three people are chosen to each represent their professional discipline in presenting their vision on the collection: New York based photographer Mark Borthwick, London based stylist Jane How and Paris based writer Sydney Picasso. Mark Borthwick’s project included the projection of a video in two parts shot in New York in early March 1998 and a book entitled ‘2000-1’. The video features a verbal interaction between three women wearing garments of the collection. The book features photographs taken during the shooting of the video and is published in the autumn of 1998. For Jane How’s project fifteen life-size puppets are each dressed in an outfit of the collection styled by Jane. Two professional puppeteers manipulate each puppet, specially made in UK. Sydney Picasso decided to produce a white cotton ribbon, on which a continuous text is printed, as well as a pamphlet entitled ‘Endless Threads’. The tract is distributed and the ribbon is tied to everyone’s wrist as they enter the space. Thirty members of the Maison Martin Margiela staff, in blouses blanches (white coats) serve red wine to the crowed while the three visions on the collection are being expressed. A soundtrack by Mark Borthwick plays loudly.Collection:The second part of a collection is in two parts. The principal group of the collection is made up of five series of `flat’ garments with displaced shoulders or necklines. Their sleeves or their neck opening lies on their front. The panels of industrial garment patterns in black motorbike leather and sheepskin are assembled to form coats and jackets. Flat ‘Grocery Bag’ garments in stretch flannels and woollen herring bone. A series of ‘Envelope’ garments have full-length zips that allow skirts, trousers and sweaters to be opened and laid flat. Various used military garments have been transformed into army trousers (worn inside out), army shirts with a displaced shoulder line. Amongst accessories are leather gloves transformed into pendant wallets and ‘Anti-Theft’ wallets in leather, worn as bags.

Oscar Carvallo haute couture f/w 2014

gareth pugh aw/14 photographed by lea colombo.

Gareth Pugh AW14 Shot by Lea Colombo

Kawakubo, in fact, stirred things up last season, when her oddly shaped pillows sewn into clothes represented to some a preposterous symbol of everything that is wrong with fashion. To others, they were typical of the way Kawakubo fearlessly pushes the proverbial fashion envelope every season. For stores, they were a test of how close to the edge their customers would venture.

Barneys New York was faithful to Kawakubo’s vision and merchandised the collection with pillows firmly in place. While the collection may not be a top seller, Barneys carried it out of loyalty to Kawakubo.

"For us, it’s about supporting a designer and what their interpretation is that season," said Bonnie Pressman, Barneys’ executive vice president and fashion director. "Is it easy? No. Is it commercial? No. But you try and work with it. She’s very influential."

"My customers won’t go that far," said Dresner. "It is not so easy to interpret these things in a real way for people. My customers buy her [Kawakubo’s] clothes, but I try to buy them with my customer in mind…

-“The lumps were repellant to me and I imagine they were to anybody,” said Norma Fink, co-owner of Theodore’s in Los Angeles. “Rei is a very good businesswoman and she knows what people will wear. I don’t think the customers would ever go to such extremes as that. That’s runway merchandise.”

The runway is a constant struggle for designers, who must satisfy buyers and the press, who crave varying degrees of newness, excitement and innovation.

by ”Redefining the edge: avant-garde confronts reality of bottom line”
by Sharon Edelson for WWD, 1997 (via vogueltalia)

(Source: organization, via faessbender)


3.1 Phillip Limspring/summer 2012