June 27, 2013
Rick Owens Spring Summer 2014 Runway Intro

Rick Owens Spring Summer 2014 Runway Intro

June 26, 2013

Julius Spring Summer 2014 Details

The shoes… oh the shoes… 

I declined to comment on this aspect of the collection earlier today as I was unable to really see the footwear in the photos initially posted. I’m happy to say these boots do not disappoint. 

Tatsuro comes through strong this season with a striking array of shoes and boots. The usual chunky soled combats make an appearance but with a very unique twist. Not only do they feature a back zip but a zipper running parallel to the laces that would seem to offer a lot of variation in styling the boot. 

My personal favorite of the collection has to be the lace up boots with the simple back zip. The abundance of laces creates a beautiful layering across the face of the shoe.These are so far my grail from from the collection.

The only photos I could find of the peep toe boots were quite blurry but those as well look like classic Julius boots with the toe cut off. An interesting design indeed. 

Finally we come to the complex boot - runner hybrid piece. I’m not even sure how to classify these shoes in terms of the shape and elements involved. They seem more relaxed and likely easier to wear than a majority of the shoes from this collection but they are hardly an understated piece. Again magnificent. 

Last but not least we have the accessories featured through the collection which I as well did not comment on earlier. Again because of the lack of clear shots of them but going through the detail photos I can see a lot of gorgeous leather pieces. My favorite thus far being what appears to be a series of stacked leather circles creating a layered bracelet. I’d be interested in finding out if they are individual pieces or actually adhered together in some way. 

I’m glad to see the detail shots made it out so quickly so I can finitely say that this collection in it’s entirety is fantastic. 

What a great start to Paris Fashion Week. 

June 26, 2013
Julius Spring Summer 2014It is finally here and it is fantastic. Again this season Julius continues the shift towards the softer side of things. Going back to the days of soft materials and forms Tatsuro conjures a very Rick Owens vibe with a lot of this collection. Not to say the collection is overly similar to one Rick would release as Tatsuro has clearly designed this from the ground up. This season we see a return of the distorted prints but with a twist. It seems they are using a different technique this time through as the colors are presented in much larger areas. I quite like the subtle usage of such a loud pattern in the tights as shown in the photo above. Just something small and eye catching to offset the otherwise unassuming outfit. One thing I can’t really comment on is the shoes. From what I’ve seen they look like what I’ve come to expect from Julius but I will need to see more photos first. The peep toe sandals are certainly of interest as the heat overtakes the summer. As expected the collection is rife with the Julius staples that keep me coming back. From the leathers to the cargos it’s all represented piece by piece in the runway. As well Tatsuro has brought some new designs to this collection with the boxy shirts and shorts. These parts of the collection carry that softness one would see in ma_julius seemingly bridging the gaps between the two collections. There are a lot of good ideas going on here as the curation of Julius continues. I can see many elements from previous collections being improved upon as well as new bits and pieces being introduced to push the envelope. I can’t ask for much more from a brand but to stay true to itself and improve upon what it’s built. Tatsuro seems to agree… Full Collection at Fashionising

Julius Spring Summer 2014

It is finally here and it is fantastic. 
Again this season Julius continues the shift towards the softer side of things. Going back to the days of soft materials and forms Tatsuro conjures a very Rick Owens vibe with a lot of this collection. 

Not to say the collection is overly similar to one Rick would release as Tatsuro has clearly designed this from the ground up. This season we see a return of the distorted prints but with a twist. It seems they are using a different technique this time through as the colors are presented in much larger areas. I quite like the subtle usage of such a loud pattern in the tights as shown in the photo above. Just something small and eye catching to offset the otherwise unassuming outfit. 

One thing I can’t really comment on is the shoes. From what I’ve seen they look like what I’ve come to expect from Julius but I will need to see more photos first. The peep toe sandals are certainly of interest as the heat overtakes the summer. 

As expected the collection is rife with the Julius staples that keep me coming back. From the leathers to the cargos it’s all represented piece by piece in the runway. As well Tatsuro has brought some new designs to this collection with the boxy shirts and shorts. These parts of the collection carry that softness one would see in ma_julius seemingly bridging the gaps between the two collections. 

There are a lot of good ideas going on here as the curation of Julius continues. I can see many elements from previous collections being improved upon as well as new bits and pieces being introduced to push the envelope. I can’t ask for much more from a brand but to stay true to itself and improve upon what it’s built. Tatsuro seems to agree… 

Full Collection at Fashionising


June 24, 2013
InAisce Spring Summer 2014 LookbookThis season brings more of the nomadic InAisce quality that I’ve come to love over the years. Although with this offering I feel a bit of a change in the line. It seems some how softer and and less aggressive than what I’m used to from Jona. The angular cuts which I’ve come to identify with a lot of InAisce’s work are still present in this collection. They too seem softened by the layering and curve of the hems. This visual trickery creates such a beautiful flow through the outfits drawing the eyes naturally from top to bottom. With just enough in between to break up the generally monolithic silhouettes. The piece photographed above is a perfect example, not to mention the fabric looks unbelievable.  As well the look features shoes from InAisce’s new line AETHM
Full lookbook available at StyleZeitgeist 

InAisce Spring Summer 2014 Lookbook

This season brings more of the nomadic InAisce quality that I’ve come to love over the years. Although with this offering I feel a bit of a change in the line. It seems some how softer and and less aggressive than what I’m used to from Jona. 

The angular cuts which I’ve come to identify with a lot of InAisce’s work are still present in this collection. They too seem softened by the layering and curve of the hems. This visual trickery creates such a beautiful flow through the outfits drawing the eyes naturally from top to bottom. With just enough in between to break up the generally monolithic silhouettes. 

The piece photographed above is a perfect example, not to mention the fabric looks unbelievable.  As well the look features shoes from InAisce’s new line AETHM

Full lookbook available at StyleZeitgeist 

April 5, 2012

Ann Demeulemeester Men’s FW12 Showroom Pics exclusively from Stylezeitgeist

March 6, 2012

Lost & Found Showroom FW  12

March 5, 2012
Rick Owens Interview via Dazed Digital re: Womens FW12
"I’ma read that bitch, I’ma reach that bitch, I’ma teach that bitch" was the intonation of Zebra Katz’s sharp-as-a-knife song blaring loudly at the Rick Owens show. With a backdrop of a blaze of fire, the models stalked down, masked by slashed balaclavas that partially obscured their faces and seemingly looking like they were going to cut some bitches up. Rick Owens spoke of brutalism backstage and perhaps that was a reaction to his previous collections where he explored mid-twentieth century couture in his own distinctive Owens language. Except when you looked closely at the clothes, other than being protective and covered up, there was no real brutal force and in fact, there was even a softness to the bias-cut skirts and dresses that fell to the floor and gently draped front coats, all in shades of grey tufted and pilled wool.

 We all carry this savage impulse and I’m fascinated with what would happen if we slipped up 
When a curved shoulder came flowing through a series of cropped leather pieces, some with giant shearling collars that hung like a cape, that came in an unexpected shade of soft apricot and materials like a sumptuous mink and blanket wool check were introduced, you knew there was a less literal meaning to Owens’ reference to brutalism. That said, Owens’s pieces will always have that steely resolve as a form of modern day armour, so as “soft” as it all seemed, what we still take aware are ultimately rigorous and disciplined clothes.

Dazed Digital: What was the starting point to the collection?
Rick Owens: This season, the womens became more of a brutalist expression. I’m talking about this part in all of us that suppresses a savage quality. It kind of came together when I got the music for the show – it’s a track that is very controlled. We all carry this savage impulse and I’m fascinated with what would happen if we slipped up. And so we go through this elaborate process of suppressing this urge with elegance and that’s what this collection was about.

DD: There was a softness to the collection though: that apricot pink, the blanket checks. Was there a touch of vulnerability? 
Rick Owens: I thought about it more as a form of control. It’s pink in a Marlene Dietrich controlled way. It’s insisting on softness and forcefully saying soft. But I don’t like to be too menacing and I do like to have a soft approachable feeling to what I do. The menace, well, there’s something quite enjoyable about that.

DD: Is that how the slashed masks came in?
Rick Owens: The funny thing was that the hats were supposed to be more of a veil. It wasn’t supposed to be this Hannibal Lecter thing that some people might see. There’s something about marking a women’s face that can be very violent that I don’t approve of. I don’t like the idea of putting women in uncomfortable situations. They were meant to be coquettish in a very contemporary way.

Rick Owens Interview via Dazed Digital re: Womens FW12

"I’ma read that bitch, I’ma reach that bitch, I’ma teach that bitch" was the intonation of Zebra Katz’s sharp-as-a-knife song blaring loudly at the Rick Owens show. With a backdrop of a blaze of fire, the models stalked down, masked by slashed balaclavas that partially obscured their faces and seemingly looking like they were going to cut some bitches up. Rick Owens spoke of brutalism backstage and perhaps that was a reaction to his previous collections where he explored mid-twentieth century couture in his own distinctive Owens language. Except when you looked closely at the clothes, other than being protective and covered up, there was no real brutal force and in fact, there was even a softness to the bias-cut skirts and dresses that fell to the floor and gently draped front coats, all in shades of grey tufted and pilled wool.

 We all carry this savage impulse and I’m fascinated with what would happen if we slipped up 

When a curved shoulder came flowing through a series of cropped leather pieces, some with giant shearling collars that hung like a cape, that came in an unexpected shade of soft apricot and materials like a sumptuous mink and blanket wool check were introduced, you knew there was a less literal meaning to Owens’ reference to brutalism. That said, Owens’s pieces will always have that steely resolve as a form of modern day armour, so as “soft” as it all seemed, what we still take aware are ultimately rigorous and disciplined clothes.

Dazed Digital: What was the starting point to the collection?

Rick Owens: This season, the womens became more of a brutalist expression. I’m talking about this part in all of us that suppresses a savage quality. It kind of came together when I got the music for the show – it’s a track that is very controlled. We all carry this savage impulse and I’m fascinated with what would happen if we slipped up. And so we go through this elaborate process of suppressing this urge with elegance and that’s what this collection was about.

DD: There was a softness to the collection though: that apricot pink, the blanket checks. Was there a touch of vulnerability? 

Rick Owens: I thought about it more as a form of control. It’s pink in a Marlene Dietrich controlled way. It’s insisting on softness and forcefully saying soft. But I don’t like to be too menacing and I do like to have a soft approachable feeling to what I do. The menace, well, there’s something quite enjoyable about that.

DD: Is that how the slashed masks came in?

Rick Owens: The funny thing was that the hats were supposed to be more of a veil. It wasn’t supposed to be this Hannibal Lecter thing that some people might see. There’s something about marking a women’s face that can be very violent that I don’t approve of. I don’t like the idea of putting women in uncomfortable situations. They were meant to be coquettish in a very contemporary way.

March 3, 2012
Yohji Yamamoto Womens FW12A true master 

Yohji Yamamoto Womens FW12

A true master 

March 2, 2012

Ann Demeulemeester Womens FW12 

March 2, 2012
The color of night - Ann Demeulemeester

The color of night - Ann Demeulemeester