MODELOS: Nanou Vandecruys

miércoles, 14 de octubre de 2009

Yves Saint Laurent SPRING 2010 RTW

Mirte Maas (WOMEN)

The drive toward, as the Yves Saint Laurent program notes put it, "a natural and honest chic, an aesthetic paradigm of new minimalism" is picking up speed during the Paris shows.

Nanou Vandecruys (SILENT)

Stefano Pilati, whose intellectual aspirations always lead him to think long and hard about contemporaneity, is one whose natural urge is to belong to that vanguard.

Frida Gustavsson (IMG)

But what does it actually involve in his case? A stark, monochrome pencil-skirted suit and an austere tuxedo? Or a pair of conceptual lederhosen and a romantic, strawberry-scattered dress? For Spring, YSL had both. And that was odd.

Sara Blomqvist (VIVA)

The logic linking the two (if not more) sides of the collection was hard to see. Some of it appeared to stem from the Saint Laurent archive, albeit at a great remove: the strawberries, flounces, and peasant influences can be traced back to the seventies, though Pilati's bunchy off-the-shoulder dresses were abstracted from the source and eroticized with black leather short shorts and fishnet stockings.

Katharina Friedrich (WOMEN)

But there wasn't enough of it to get into any sort of stride, and when a single white sleeveless coat-dress appeared with what seemed to be purple djellaba embroidery on the shoulder, it was an idea that was left hanging, without further development.

Kasia Struss (WOMEN)

On the other hand, there were more easily understood city dresses and suitings—like a regular periwinkle long-sleeved linen dress and the belted white pantsuit that opened the show—interspersed with a continuation of the edgy black leather pieces Pilati showed last winter.

Mina Cvetkovic (WOMEN)

Then, to add to it all, there was a reversion to some of the clerical references he brought up at the beginning of his tenure: surplicelike sleeves, priestly white blouses, and almost ceremonial minimized capes.

Tao Okamoto (WOMEN)

The parts will likely separate into perfectly sellable working-woman pieces for the stores, and the more edgy elements will get bundled off to editorial shoots. But in terms of a cohesive statement, they never quite seemed to relate.

Kendra Spears (ELITE)

Vlada Roslyakova (WOMEN)

Jules Mordovets (IMG)

Kelly Moreira (ELITE)

Aline Weber (WOMEN)

Valeria Dmitrienko (WOMEN)

Alina Ilie (IMG)

Samantha Gradoville (MAJOR)

Katlin Aas (MARILYN)

Tati Cotliar (NEXT)

Jacquelyn Jablonski (ELITE)

Karlie Kloss (NEXT)

Kim Noorda (VIVA)

Alex Sandor (METROPOLITAN)

Anya Kazakova (MARILYN)

Dorothea Barth Jorgensen (ELITE)

Ginta Lapina (WOMEN)

Chanel Iman (VIVA)

Liu Wen (MARILYN)

Sheila Marquez (WOMEN)

Maria Kashleva (NATHALIE)

Michaela Kocianova (ELITE)

Elena Melnik (SILENT)

Hanne Gaby Odiele (WOMEN)

Alla Kostromicheva (WOMEN)

Kelsey Van Mook (NEXT)

Heidi Mount (IMG)

Patricia van der Vliet (ELITE)

Nicole Hofman (MARILYN)

Mariacarla Boscono (VIVA)

Caroline Trentini (IMG)

Iris Strubegger (WOMEN)

Karmen Pedaru (NEXT)

Yulia Kharlaponova (WOMEN)

Stefano Pilati

lunes, 21 de septiembre de 2009

Viviene Westwood Red Label Spring 2010 RTW.

Aleksandra Tsyganenko

Given Dame Westwood's memorably unmediated declaration that she had nothing to do with her Red collection, she has been remarkably well-served by whoever is responsible. They've managed to commercialize her Queen Mother-on-crack aesthetic so that it plays to a whole new audience of pop-ettes, a posse of whom were parked in the front row, alongside hoary old fans like Boy George.

Nanou Vandecruys

The pop-ettes cheered lustily every time Pixie Geldof, one of their own, passed by on the catwalk, trying her hardest to cop some bad-girl attitude. Once, that would have been entirely in keeping with the clothes, but it's funny how Viv's fashion radicalism has devolved into the kind of decorous dresses that would be suitable for a garden party at the local vicarage: tulip-printed (paired with a white cardigan); draped and polka-dotted with a portrait neckline.

Agathe

Even her exaggerated forties-styled tailoring, for all its asymmetrical touches, now looks more and more conservative (though a brocade jacket and swagged lilac skirt on Coco Rocha proved that Westwood's va-va-voom factor remains undiminished). For Spring, Red occasionally mixed up the classicism with argyle-patterned short shorts, or diaper shorts, or a pair of drop-crotch linen pants cut on the bias. But what ultimately lingered were the high-waisted gray trousers worn with a lilac blouse, a distinctly ladylike counterpoint to the save-the-rain-forest message the dame printed on her invitation.