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Japanese Fashion Designers
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Issey Miyake | Yohji Yamamoto
Comme des Garcons | Jun Takahashi
Tsumori Chisato | Near Nippon
Junko Shimada | Limi Feu
Nozomi Ishiguro | Shida Tatsuya
Eri Matsui | Matohu
Dress & Co. | Etw. Vonnegut
Everlasting Sprout | The Beau Snob
Motonari Ono | Johan Ku
Yuma Koshino | Takahiro Kawaguchi
Head_liner | Whiz Limited
Yukiko Hanai | In-Process
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USAGI FUJOSHI
(I tried to do a censored version you could click through to save those with phobias of this imagery, but it...
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2012ss_16 on Flickr.
DECEIVE…
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2012ss_10 on Flickr.
DECEIVE…
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Finally jumped on the Shu Uemura band wagon! I had been looking for them at Nordstroms but they don’t sell them anymore so when I found out Shu...
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Tag Results
16 posts tagged Spring 2012
Issey Miyake Runway Show - Paris Fashion Week Spring 2012 PFW | FashionTV - FTV (by fashiontv)
PARIS - A sense of colorful origami prevailed through the Issey Miyake show for Spring/Summer 2012 at Paris Fashion Week. Perhaps it has something to do with the brand’s newest head designer Yoshiyuki Miyamae who still wanted to keep the Issey Miyake spirit alive through his own unique art interpretation. Unique headwear, tribal patterns that looked like they were painted on, and color blocking prevailed. The theme of this collection was the life of a flower from bud to stem to petal to blossom, but it was hard to envision that process through all of the draping and colors and headpieces that did not speak to the blooming of a plant. While we understand the metaphor behind the building of the collection and are turned on by Miyamae’s vibrant color and art form, it might be safe to say that he should stick to what he knows best with adding a theme in the end.
Jasper Conran Spring 2012 Bag
(via catwomanboy)
Comme des Garçons Spring 2012 “White drama”
“White drama” was a precise summation of a show that felt like it tracked a progression through life’s dramatic way stations: birth, marriage, death, transcendence. Tradition drapes each of those moments in white and attaches distinct rituals to them, which set off some fascinating echoes in Kawakubo’s all-white collection. Some were as obvious as the duchesse satin of a wedding dress or the lace of a christening gown; others were more oblique, such as a reference to a body laid out in white flowers, or the pointy-headed robes worn by church dignitaries during Seville’s Semana Santa.
The ceremonial grandeur of the clothes and the stately way they were shown felt like yet another echo of the fifties/sixties couture influence that has insinuated itself into Spring 2012. More specifically, there was the spirit of Cristobal Balenciaga, a deeply religious man who elevated the craft of couture to the level of spiritual quest. He believed he could find salvation in the perfect sleeve. It was probably coincidence that sleeves were the signal detail of the Comme collection (they were long and wide, falling almost to the floor), just as it was probably coincidence that the show took place in a Salvation Army building. Unless, of course, you believe there is no such thing as coincidence, a conclusion that was easy to reach given the presentation’s inescapable spiritual dimension.
It was tempting to see in that a response by Kawakubo to the disasters that afflicted Japan this year, with life-and-death dramas still being played out every day. But that sounds unduly solemn for a show that, for all its grand theme, was still spiked by drollness in details such as the headgear contributed by three different artists, the Westwood hoops, and the lacy lingerie trims that introduced hints of carnality. Yes, the white boots might be worn by technicians in a nuclear reactor. But equally, they could be sixties couture a-go-go.”[style]
(via scattering-memories)
