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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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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 http://www.yohjiyamamoto.co.jp/ys/

The vast assortment that characterizes Y’s, the line with which Yohji Yamamoto began in 1977, is now presented in two different moments of the year and also subdivided, without any theoretical fracture, in pre-collection and collection.

We have the pleasure to show you, with our customary video, the Spring/Summer 2017 in its original setting, the Rue Saint Martin showroom in Paris, which assembles the two phases in an easily recognizable stylistic continuum for those familiar with the famous Japanese Maison.

Frequent asymmetries and overlays, hospitable volumes as complex as possible are some of the most recurring codes. The collection with which Yohji expresses his everyday life interpretation reserves, however, minor immediacy merits. The use of color, for example, even if it is a small polka dot, a melange note or apparently a print, is always accompanied by in-depth collaborations between textile exceptionalities and that reservoir of remote traditions represented by unique local dyers, the latest depository of ancient knowledge, involved not only to give the public rare aesthetic suggestions but also to keep that precious handicraft heritage alive.

In the extraordinary combination of modernity and tradition, can be admire indefinable shades of gray on flamed linen, irregular vertical shades created by the morphology of wooden boards on which tencel and cotton cloths are laid, or in the linen, for stretching the chromatic blends that will then be absorbed and altered by the wood base. Or again in the casual paths of the salt lying on the rayon, powered by manual punctures to favor its absorption, and then distributed not by methodical human action but by the whimsical wind direction in a natural and abstract design reflected by shadows and cosmic light spots.

It is impossible to narrate all the knowledge accumulated in a line, Y’s, which, with grace and obstinacy, in the formal balances of each chapter, in the wisdom of fit, insists on respecting the contexts, seasons and complexity of contemporary living.

Find online all collections of Y’s Yohji Yamamoto

 

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Daniela Gregis Spring/Summer 2017 full fashion show - Ivo Milan

See the exclusive video of Daniela Gregis fashion show

 

On the pleasant shore of the French Riviera, about half way between Marseilles and the Italian border, stands a large, proud, rose-colored hotel. Deferential palms cool its flushed façade, and before it stretches a short dazzling beach. Lately it has become a summer resort of notable and fashionable people [...]

The famous incipit of Tender is the Night, the masterpiece of Francis Scott Fitzgerald, as the ideal setting to place the Spring/Summer 2017 Daniela Gregis collection.

Impossible not to let yourself  be carried by the chromatic intensity of the painted fibers and by the relaxed release of holiday volumes in the aristocratic and sensual atmospheres of the noble French coast, described with literal photographic skills by the great American author. A gentle and carefree time/period, despite the inspiration from the spontaneous and playful world of childhood of the Bergamask designer, it remembers the light and thoughtless rhythms of an cultivated and demanding elite, payment of a ubiquitous and widespread beauty.

The polka dots are blurred, in the contours and in the shades, reclining on a pleasant breeze on the fleeting silk of crêpe de chine. The unforgettable landscape of an exclusive ‘room with view’ distractedly absorbed in the cedar pastel notes of the voile. The voluptuous luxuriance of the Mediterranean blemish, intercepted in the vigorous linen coating, returned to the dazzling and hallucinating visual impressions of the orange ramages, stained with blue and green. If certain sewed collars, the rigid expression of some of the stiffed models, the reassuring and calm pastel pink, may become vaguely bon-ton, with their chaotic realization, with the choice of humble or washed and wrinkled fabrics, to the contrary, they grab that unconventional liberty, somehow mischievous and rebellious, typical of a sheltered and indulgent prosperity.

Daniela Gregis interprets and translates the most powerful suggestions of the season, reminds us its promises, suggests its warmth and, even before it arrives, invites us to live it fully, to make it memorable!

 

Find online all collections of Daniela Gregis

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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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