the global current forces are moving towards the principles of ‘the minimal’ and ‘the multifunctional’. Technology is dedicated in pursuing multi-operational devices, procedure-elimination, and simplified, diverse performances. Putting it simply, technology, the synonym of progress and the emblem of our times, is evolving to cover people’s needs. First thing required is to understand which are these needs, and second is to find solutions for removing a problem or reducing it to the lowest.
I was bringing my eyebrows together to keep my focus on the presentation of the spring-summer 2012 MM6 line, as thoughts like the above were aiming to distract me, along with the constant banging of the window behind me. I felt quite relieved five minutes later, when I realized why I was troubling my mind like that, whilst gazing at clothes. Problems are part of every common and ordinary day, and it seemed to me that this was an invitation for the MM6 line to provide resolving suggestions to daily people’s needs.
There was definitely something about the very ‘now’ in the female silhouettes of the collection, doubtlessly because it targeted utility, without any track of excessive-sens.
Uniform and domestic innuendos are portrayed on cotton, silk, leather and other natural textiles, treated for texture-free, soft-contact outcomes. Side panels serve as pockets creating an emphasized volume at the point of the hips, and some long dresses feature an elongated curve on one side as opposed to their straight-fitted line on the other side. A short knitted top in a kimono-cut with narrowed sleeve-ends together with a hooded jacket introduce fine drapery. Asymmetric shoulder volume and length on t-shirts to embrace a flowing movement; otherwise silhouettes remain slender.
A general preoccupation with the female back leads to a slight skin revelation by the over-crossing of panels. Coats and knitted jackets with buttons all the way along the spine bring along a vertical division effect. The coats are held together by their belts, which are secretly inserted in the back and the front, leaving the sides loose. Generous décolleté is being rotated to the back, while jumpsuits and dresses are separated by a horizontal slit on the waist in the back.
Little surprises make their appearance. The idea of the convertible is being explored by cylindrical knit pieces to be deduced either as hoods or as skirts, accompanying knitted tops. Separate panels with two pockets can be unzipped from the upper part of jackets and t-shirts, and be tied around the waist on their own. Take the straps hanging at the very bottom of a dress, button them on the shoulders, and abracadabra, you have a double-layer t-shirt.
Decoration is absent; only the necessary show up. Accordingly, the colour palette keeps a discreet character, with tones of black, white, blue, denim, nude and brown, whilst bright pink and stripes introduce a summery feel. Hole punched cotton t-shirts and trousers, reflect Margiela’s view of embellishment. There are no tricks played; clean in construction the clothes keep however a reserved attitude and you’d have to get close enough to hear their whispers.
Details take the role of a commentator on context, technique, and use. Colour spraying, operated from the inside, marks a distinction between the lined and unlined parts of certain pieces, and makes up for the decolouration and erosion effects. Several references of archetypal design elements appear: partially opened or exposed seams, a black apron dress, a raincoat that gets compressed in one of its pockets, jacket details occasionally reversed and misplaced on other types of garments. Traces of a waistcoat’s structure are transferred on the fronts of a male white shirt and some dresses; t-shirts bear twisted overlaying panels on their back and the sides.
Madonna modeled a Fall US Harper's Bazaar fashions with Andrea Riseborough, star of her film W.E. Photographed by Tom Munro and styled by Arianne Phillips, on the picture she is wearing a Maison Martin Margiela skirt.
Dear iDEALS, for the past seven days, you must have certainly noticed the limited number of blogposts featured on Un nouVeau iDEAL. The reason was only because I was visiting Athens for two major projects. The first will be announced to you a bit later and the second is what this post is about.
My dear friend photographer Mara Desypris, with the support of Ozon magazine and Yiorgos Kelefis, put together "Random" an exhibition focusing on the "pre-digital" period of her work. Along with art director Dionysis Dimoulitsas - with whom we were appointed curators - helped Mara and made a four-years-of-waiting desire become reality.
“Fashion goes out of fashion” says veteran creative director Marc Ascoli.
A jury member for the upcoming Hyères Fashion + Photography Festival, Ascoli is known as the man behind the image of Yohji Yamamoto, Martine Sitbon, Jil Sander for many years. He knows the times change, and yet the thirst for creativity is never quenched. Here’s a taste of Hyères.
MarcAscoli: His/her sensibility before anything else, that he/she has something to say. But also the degree of creativity, the ability to show he/she doesn't fit the mold or follow established models. A young designer, to be interesting, needs to reflect his era and talk about the times.
Marc Ascoli portrait by Rene Habermacher during the Hyeres 2012 Jury selection.
MALI/SKATTIE: Once you've started working with a brand, what is your degree of involvement and counseling?
M.A: It really depends on the intensity of the relationship I share with the person. Today the difficulty is to know which direction a brand wants to go, how to express its singularity.
Marc Ascoli for Calvin Klein, Photography Davis Sims
M.A: The current situation is ambiguous. Designers are personae, they embody and diffuse the image of the brand.
Taking into account the investments made by fashion houses in terms of publicity, designers have become true flag bearers. But that's where the error often lies, to hire people gifted in public relations but much less in terms of style. Today there is a "bottom line" in fashion, people tend to look at things commercially. Does the buzz which personality give off equal the quality of the offering ?
The question today is primordial. [In the case of] Sarah Burton for Mc Queen, we don't see a flamboyant personality, but everyone is floored by her work. Even though it's a time of crisis, everything is about competitivity. Considering the number of collections (men's, women's, pre-collections), it's about standing out through quality not only personality.
Marc Ascoli for Martine Sitbon, Photography Nick Knight
RENÉ / THE STIMULEYE: What is the role of the stylist in the creation of a fashion image ? How did the evolution of this role impact the role of the artistic/creative director ?
M.A: There's now a lot of confusion between stylists and artistic directors, but I believe the two have very different roles. The artistic director works on the long term image of the brand, its DNA and visual impact, whereas the stylist reflects the brand’s fluctuating image by styling the clothes, whether it’s for ad campaigns or a fashion shows.
BRUNO / BRRUN: Does fashion have a political role beyond aesthetic and function ?
M.A: Fashion takes place in a different universe. It's a universe where you're bringing something else to reality, where there is little concern for politics, because it’s all about creation and individuals. You can see today that there is a huge gap between fashion and the political reality of our times. Fashion goes out of fashion; fashion is irrational so it can’t be political.
Marc Ascoli for Yohji Yamamoto, Photography Davis Sims
M.A: An artist always needs an alter ego with whom to exchange ideas, to help write his/her story. It's not just a matter of positioning. The artistic director has to be sensitive enough to understand the artist’s universe and then catalyze it ; establish an image visually and eventually commercially.
H.B: What is the last thing which stimulated you ?
M.A: Being a very curious person, I am constantly stimulating my creativity through various cultural activities. The exhibit of Madame Grès curated by Olivier Saillard at Musée Bourdelle really seduced me. Everything was in its place, the location, the clothes, the spirit. I was also very stimulated by the latest Comme des Garçons fashion show. I thought it was majestic.
Marc Ascoli for Jil Sander, photography Graig McDean