AFTER a debut at Jil Sander that was judged “breathtaking” by Antonio Berardi, Raf Simons was free to do his own thing today in Paris – relieved of the pressures of past and present that taking on a much-loved, famous fashion house involve. And, though he admits to being honoured and thrilled to be at Sander, this Belgian star clearly enjoys a little “me time”. He kept his silhouette narrow this evening, and the palette hardly strayed from black and white – though cream and shadow-grey knits showed off intricate patterns that further exaggerated the models’ slim frames. The tiniest collars on crisp white shirts, skinny jeans, zip-front sweaters and a clever leather jacket, whose collar curled over into second puffed layer, all revealed Simon’s ambition to create clothes that are unmistakably his. Skinny ties, slick single-button suits and fringes that fell into the eyes of his models had a New Romantic theme – Simons is going for cult status. (January 27 2006, PM)
By Dolly Jones
Fashion designer Rick Owens, whose clothes have often been described as “glunge” was once asked what the term meant. “Glamour-slash-grunge” he replied. “It’s a word I use to describe the combination of elegance and dirt that I’m attracted to.” Rick Owens eschews hype in favor of attracting the interest of pivotal fashion folk. Moody-toned, draped and deconstructed, his LA-inspired designs embody all the glamour, glam rock edge, and broken-down ease that is Hollywood. Owens likens his designs to “theater without ostentation and intimidation.” His asymmetrical dresses and fitted jackets with unfinished hems, influenced by the Hollywood glamour in which Owens lives, have been worn for years by loyal fans like Courtney Love and Madonna. In 2003 he was nominated for this years CFDA’s (Council of Fashion Designers of America) Perry Ellis Award for Emerging Talent and won the Award. He has worked as a designer for 10 years and 6 of those years were under his own label. After ten years as a women’s wear designer with a faithful transatlantic following, Rick Owens moved from Los Angeles to Paris, where he unveiled his first men’s wear collection in 2003. He is a master at creating draped, bias-cut and asymmetrical tailoring finished with ostensible rough-edges. His off-kilter designs and fits are always flattering. Favoring deconstructed layering and washed-out colors, Owens designs for the man who eschews ostentation in favor of very wearable, cutting-edge fashion.
D&AD Awards – Television & Cinema Advertising – Silver Nomination
I could play this again and again and again.
Small Family Business
Bartle Bogle Hegarty
J. Lindeberg Fall 2006
January 17, 2006
Johan Lindeberg may have taken his own lanky frame as the starting point for his latest collection, but the items that really registered in his show were a handful of trousers that offered a silhouette so full, they amounted, in one case at least, to a “paper-bag” waist. They seemed to be a comfortable alternative to the pipe-cleaner silhouette that Hedi Slimane and his imitators have made the catwalk norm for men. Worn with a wheat rollneck sweater, these particular pants suggested succor, not strain.
Lindeberg, however, is rock ‘n’ roll at heart, and the looks that mean the most to him and his wife (and muse) Marcella are those that suggest life lived on the razor’s edge, where his current poster boy, Depeche Mode’s Dave Gahan, has teetered time and again. So there was an abundance of cropped skinny jackets, tight little waistcoats, and jeans as fitted as a leotard. Bridging the gap between rock and a soft place were droopy low-closing cardigans and billowing nylon coats.
For those forearmed with the knowledge that belts account for an astonishing 8 percent of Lindeberg’s $50-million-plus turnover, it was impossible not to scrutinize the models’ waistlines during the show. The take-away? A soup-to-nuts array of cinched-in style.
— Tim Blanks