In awe of Satu Maraanen’s artful collection, awarded the Grand prix at this year’s Hyeres Festival and recently shown in Paris at Premiére Vision. True to her Finnish roots, Satu values craftsmanship and creates a striking aesthetic by contrasting traditional Haute Couture – dramatic hats, exaggerated bows and sculptural proportions – with work wear inspired shapes and earthy cottons. Oversized brushstroke patterns, textural finishes and bold color juxtapositions add even more depth to a truly intriguing collection, leaving us excited for what’s next for this up and coming designer.
Article by Guest Blogger: Geraldine Wharry
Naturalistic Garden – Keiko Nishiyama MA show
By Patternbank On July 8, 2013 · In Print + Pattern
Patternbank are loving Keiko Nishiyama’s picturesque garden inspired collection from her MA graduate show. Keiko Nishiyama studied BA Fashion and performance in Tokyo. after working for an assistant designer, completed an MA in fashion design at London College of Fashion. The idea of printing ‘hybrid imported plants’ in which new flowers were mixed to create an atmosphere of mystery. All the draft prints are hand-drawn creating the illusion of distance to rearrange and reposition the flowers.
“Anthology of Art”
This collection born out of English picturesque garden. The garden would compare anthology of art. In 18th century,Despite the British devotion to naturalism, features such as ruins and follies hybrid flowers became gradually more and more ornamental. The idea that the inclusion of artificial elements in fact contributes to the concept of a ‘naturalistic garden’
It’s always the quiet ones you have to watch. At the same time that Dries Van Noten, scholar and gentleman of the parish of Antwerp, noticed that the world had surrendered to the formalized glitz of television shows featuring infinite combinations of ballroom-dancing celebrities (on ice!), he and partner Patrick Vangheluwe became fixated on Fred Astaire and Ginger Rogers dancing cheek to cheek in Top Hat, the 1935 classic that, in its dancing sequences, borders on purest ecstasy.
And that’s how “Fred and Ginger” became the inspiration for Van Noten’s new collection: classic embodiments of masculinity and femininity, subversively fused into one under fashion’s umbrella. It’s been a subtle theme of the season so far, but where other designers used fur to stand for the feminine, Dries said it with feathers, and that made the point so much more effectively. A deliriously mixed message was sent out by Van Noten’s own favorite outfit—a mannish white shirt with a necklet of paste diamonds, navy skirt trailing plumes of ostrich anchored by crystal, over gray flannel pants. If it was barely matched by the daddy-huge cabled sweater over a varsity-stripe skirt that dissolved into flapper fringes (with crepe-soled oxfords as footwear), and the brocade skirt that feminized a plus-size overcoat and chunky knit (again, the paste diamonds, and this time, high heels with ankle socks), that’s only because feathers trumped fringing and brocade on the Ginger scale. Froths of ostrich were a perversely glamorous counterpoint to the flat-shoed, gray-flanneled sobriety of the outfits they anchored.
But there was a sexy slouch to the result. It felt like a grown-up evolution of last season’s grunge. So did Kid Koala’s soundtrack, which synthesized the elegance of Cole Porter’s “Night and Day” with the primal throb of Suicide’s “Cheree.” Dries had his own feelings about synthesis: “There are boys and girls, there is night and day, but above all there is love.” Which is exactly what his audience today was left feeling.
JUNE 22, 2013
By Tim Blanks
In early June, Antonio Marras was recognized as an Honorary Member of the Accademico d’Italia by the Brera Academy of Fine Arts in Milan, following in the footsteps of such earlier honorees as Verdi, Wagner, and Rodin. It seems there’ll always be debate about whether fashion is an art form, but such recognition reaffirms that there’s little doubt Marras is an artist. Anyway, he’s proved it time and again with the way he presents his designs, the collaged lookbook he created specially for Style.com for his new Resort collection being a case in point.
But as well as being a designer and an artist, Marras is also a director, like Miuccia Prada, making movies with fashion. Each collection revolves around a film-worthy conceit. Here, it was the romance of Chilean poet-in-exile Pablo Neruda’s seven-month sojourn on Capri in 1952 with his lover, the singer Matilde Urrutia. The story has, in fact, already been told onscreen in 1994’s Il Postino, but Marras teased out his own thread of visual drama: Brittle sophisticate Matilde arrives on Capri with her little dog and her white fur coat, and slowly a more natural sensuality blossoms under the influence of the island.
It was an easy story to follow through the clothes that Marras had created, starting with outfits that were stylized and structured in the collaged, complex demi-couture style that is his signature (the trapeze coat, for instance), gradually shifting to simpler, summery silhouettes and fabrics, even some one-of-a-kind customized vintage denim pieces. Matilde used a gold-green-and-black stripe that is special to Capri for her wedding dress. Marras re-created it for a sweetheart-neckline sundress. The flowers that Neruda and Matilde’s housekeeper bought every day were freely splashed as embroideries and prints by Ratti, the legendary Italian silk-maker.
Marras’s inspiration was most graphic when he used the same shapes for Matilde’s before and after—on one side of the room, a cape in black duchesse satin; on the other, the same cape in a clear Mediterranean sky blue. The juxtaposition also clarified the collection’s strongest selling point. It was as if Capri had the same kind of liberating, relaxing effect on Marras’ design that it had on Matilde sixty years ago. It was invigorating to see him so at ease with simplicity.
I’m simply in awe of this Harper’s Bazaar UK editorial, featuring spring’s most glorious florals enveloped in botanical illustrations. I’m definitely going to need to hunt down the May issue, which was published in collaboration with the V&A Museum in London, to add to my inspiration board. Honestly, stunning!