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individual-sentiments-particularSometimes, discovering new realities, flair and intuition serve very little. In the intensity of the Paris Fashion Week, it is not really possible seeing all the showrooms that one promise to visit before departure. Finding addresses, organizing appointments, and defining a reasonable timetable, where places and times remain as near as possible, have little chances to succeed. However, in optimizing the time available, there is a golden rule: enhancing the network of trustworthy acquaintance and responding to the invitations of those who know our selective track.

This is the case of Individual Sentiments, novelties of the Japanese matrix, indicated by the beloved Bimbi, which you’ve met years ago in the Carpe Diem house. Little are the references to rely on, being the first winter collection for women, the brand, sketched by the designer Yoko Ito, was born in 2009 only with the line for men. Without any other connections, if not the trust in the author of the recommendation and the interesting work in the male expression of the brand, we went to a showroom that could not be identified otherwise: a basement, very suggestive, but, alas, not illuminated, in a somewhat secluded street within the Marais. Our footage, as usual, may be helpful in discovering the ‘feminine’ work of Individual Sentiments.

blog-individual-sentiments-youtubeA very contemporary concept of design, where the need for differentiation inherent in the need to ‘change cloths’ is entrusted to very subtle and unexpected stylistic elements. A meticulous selection of materials, strictly Japanese, of colors, being one with the fabric, a highly conceptual formal definition learned and cultivated during the important collaboration with Maurizio Altieri at the time of Carpe Diem, an extraordinary Italian avant-garde experience.

Within these guidelines, Individual Sentiments develops a language far from fashion trends, realistically timeless, where complex provocations and challenges are not lacking, where what may seem at first glance is not: knitting of certain fabrics, coats that, overturning them, become dresses or dresses that, on the contrary, look like coats. And again, textile exercises where chromatic movement is provided by the combination of straight and reversed fabrics or nuances used to accentuate luminous effects.

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A collection that, although at its beginnings, already reveals decisively a stateless and organic soul, in a loud tuning and tight dialogue with the most advanced cultural stresses of our time.

 

Find online the Individual Sentiments Collection

 

 

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Quai d’Austerlitz, at the Cité de la Mode et du Design, is the meeting of the Fall/Winter 2017-2018 presentation of the great master Yohji Yamamoto. A place unequivocally linked to the belonging sector and, maybe, an invite to dive with more care into the concepts of ‘fashion and design’. While the world is crazily running towards an irreversible loop of textile overproduction and creative inflation, the Japanese designer welcomes his public in an abstract and deserted temple, dilated by the quiet incipit of the show, articulated in the first moments only by the constant shots of the photographers.

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Space and time seem to loosen, returning to the manifestations of the human dimension, the expressive and artistic possibilities that have always distinguished the degree of civilization. Yohji is rooted in the contemporaneity, giving its grace back, is metropolitan and poetic, is a designer and a narrator of emotions embodied in dress. The rhythm and the gait are slow, the soundtrack is calm, reassuring and this mood favors a concentrated abandonment to the elaborated and evolved representation of his vision of femininity. Collected in asymmetrical folds, emphasized in the measurements and proportions of slim fit jackets along the sides and cleverly draped in a way that possible imperfections can be disguised. Fabric layers that extend in clever diagonal levels, textile accordions that take the place of the obvious and rigorous lapels. Each item denies the contemporary cultural trends, opposes ingenuity, portability, and decorative solutions of bold tailoring and compositional abilities.

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Tailor/poet of the black, Yohji does not surprise us by preferring once again the non-color, only the high formal complexity, the radiant gesture of pictorial brushes in accomplice balance with folds and cuts, to reveal a clear passion for the female universe, ideal palette of his most poetic achievements.

Following some of the moments from the show-room while making our choices

video-show-room-yohji-yamamoto-blogFind online the new Fall/Winter Collection of Yohji Yamamoto

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Autumnal fogs, suspended mists, muddy skies, burnished colors, the dried fruits of winter and the woody stumps, ardent in the domestic intimacy of the fireplace. And again the time, spent between the familiar sounds of youth, absorbed in first and instinctive drawings, and the loom, the knit, the crocheting. Collected atmospheres, cyclical and slow, placid dimensions, wondering in the feverish sound of the daily metropolitan life.

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Always attributive to the most striking seasonal atmospheres, Daniela Gregis‘s work accompanies the audience in a dive, both visual and sensible, into the prevailing tones of her Fall/Winter. It is not hard to imagine the winter territories of northern Italy in the crumpled gray of washed cotton, or in the charcoal marks of the ruffle brushstrokes of crêpe. Views of pale skies appear in the cashmere, melange or checked, and that recurring brown of local shrubs comes back in warm beige shades or more singed in the backgrounds of childish sketches.

The designer from Bergamo does not cultivate melancholic perceptions of this long season, it revives it instead, with important lengths of clothes and chromatic explosions of accessories,

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daniela-gregis-fw-2017-2018-bag-detail

a playful and aristocratic vision of winter, of the city time, of work and of urban itineraries par excellence. Staggered textiles overwhelm the weather, the melancholy and apathy, invite to mix and recombine, to cultivate the well composed and cured hilarity of good living…

A closer look at Daniela Gregis Fall/Winter 2017-’18 fashion show directly from the Oratorio della Passione – Basilica di Sant’Ambrogio, Milano:video-youtube-daniela-gregis-blog

Find online the new Daniela Gregis Collection

 

 

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Photo by Pascal Maucuit

Photo by Pascal Maucuit

On a rainy Saturday morning in Paris, with the town still sleeping, we run to the venue hosting the parade of Junya Watanabe: the faculty of pharmacology at Rue de l’Observatoire, exactly at the opposite end of the metro stop to which we have to go in the evening also for Comme des Garçons.

The rain, the time and the hurry to look for the fastest way to reach our destination do not favor the good humor, until, once into the mighty faculty salon, we are not awakened by a loud rock. The rhythm spurs for attention, the fierce gait of the models drags the present into an inevitable, and personal, reflection on fashion, on its utility or emptiness, and above all, it generates a real, widespread and more than ever palpable perception of uncontrollable enthusiasm.

Junya Watanabe Fall/Winter 2017-2018

As if the world suddenly recapture each potential, the possible silhouettes projected on Junya Watanabe‘s future Fall/Winter incite that desire for change that is the vulnus itself of fashion and the radicalism with which the Japanese designer staggers it is thrilling.

Faithful to his own ‘cyber’ vision of contemporaneity, Watanabe assembles materials with his typical origami form, which on this occasion we can recognize in the circle: calf hair, black leather, leopard spots, all strictly in synthetic leather, studs and pailletes re-compose patch-works of cultures and epochs of costume history of the most experimental forms. Excess is the guiding thread of deformed decorative elements, which not only outline unusual aesthetics, but also become part of and modify the human physical structure. Caps like sculptures, multicolored textile wigs, lacking any romantic poetics and built to defend any hypothetical attack, tunics that amplify the circularity of the chakras, coats shaped around the feminine figure with asymmetrical spheres, possible ultra-modern armors against the advancement of the creative nothing.

Junya Watanabe Fall/Winter 2017-2018

Junya Watanabe Fall/Winter 2017-2018

Junya Watanabe Fall/Winter 2017-2018

Junya Watanabe Fall/Winter 2017-2018

Junya Watanabe Fall/Winter 2017-2018

Junya Watanabe Fall/Winter 2017-2018

But the excess is finally cleaned, made accessible in the showroom choices, revealing how far it can go and how it can be traced back to the hectic daily life but still it remains a visionary exercise of pure and extraordinary contemporary textile art.

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Met - Exhibition Comme des Garçons

It has finally started the exhibition that the Costume Institute of the Metropolitan Museum of New York, the most important American institution in cultural context of fashion and costume, has dedicated to the work of the designer Rei Kawakubo, with Comme des Garçons.

For the second time in its history, MET reserves its space for a living creator (previously in 1983 with Yves Saint Laurent) and Art of the In-Between, inaugurated last 4 of May, has already been called ‘epochal’ for the deepness of the methodological analysis adopted.

“I have always pursued a way of thinking about design by denying established values, conventions, and everything that is generally accepted as a norm. I express myself through the concepts of fusion, imbalance, incompleteness, elimination, and the absence of an intent” has declared the designer (quote from Style Magazine n° 5 of May 2017)

An atypical operating method, mostly after placing it in the conforming and homologous context of the fashion system, governed, for its own survival, by the tendencies that, in order to be assimilated, must be made with easily comprehensible stylistic codes.

On the opposite, the Japanese designer has always created collections that needed to be metabolized and processed over long periods of time, encouraging personal and, most of all, not univocal interpretations. Immediate approval, for Rei Kawakubo, is just a reflection and confirmation of a failed job, as it is too simple.

 

Rei Kawakubo - Comme des Garçons

photo by Style Magazine

 

And again, in another famous statement:

“I create clothes for women who are not influenced by the opinion of their husbands”
emerges a significant distance from a way of understanding fashion as a practice to valorize two cardinal elements: the anatomy of the body and, no less important, the social status.

Rei Kawakubo dismantled, literally, these two goals. With her, the dress becomes, more than ever, an appendage of the thought and personality of the wearer, a possible element of a hypothetical philosophical dialogue between the self and the rest of the world. So it is no longer the way of showing curves and economic resources, but a powerful means of communication, expression and misguidance, an aesthetic exercise in all aspects, an extension of its own culture, creativity and reflexive complexity. The dress withdraws its seasonal recognition, acquiring an absolute timelessness. For the history of the costume, this is a revolution. Bold volumes, systematic asymmetries, stratifications, unfinished fraying, cuts and gashes in the most unexpected points, only some of the Comme des Garçons language traits.

 

The exhibition, curated by Andrew Bolton, staged 150 dresses organized in several thematic sections:

Fashion/Anti-Fashion
Self/Other
Design/Non Design
Model/Multiple
Then/Now
High/Low
Object/Subject
Clothes/Non Clothes

basically, the same antinomies posed by Rei Kawakubo in the series of different collections.

It is not overly affirmed that anyone who will not be able to go by September 4th at the MET to visit the magnificent show, besides the catalog available on the museum’s website, one can reasemble parts of the designer’s creative path with the help of our special room, online and live , in the Padua store.

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Scopri tutta la selezione online di Comme des Garçons nel nostro sito:

http://www.ivomilan.com/en/Tutte_le_collezioni-0/All-0/COMME_DES_GARCONS-48/e-shop.htm

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