Chain Reaction

fig a. Wang bases his collection on the Raf Sander 'Tomb Raider' silhouette of panty shorts and rubber boots. He then cross-references the Raf Dior slash fabric technique, almost creating the exact clone in black and hot pink.

fig b. Raf Sandior openly declared his admiration for Helmut Lang and Martin Margiela, yet his designs are built on the tradition of Ghesquière for Balenciaga. Pictured above is the dramaturgical step-up. From sci-fi glasses and stiff sleeveless coats (2007) to vulgar florals and rubber (2011) to stained-glass prints (2012).

fig c. In contrast, Nicolas Ghesquière does not even reference himself. He explores a 1970s feminist architecture for Louis Vuitton without being architectural. His reference is based on culture not fellow creators. And since our future will most likely look like the past, retro-collars and tinted sunglasses are the valid signifiers of our times. Francisco Costa's collection for Calvin Klein evokes a parallel mood that arose from genuine exploration instead of wretched duplication. Applause, please.

1. Alexander Wang for Balenciaga Pre Spring/Summer 2015 & Raf Simons for Jil Sander Fall/Winter 2010
2. Alexander Wang for Balenciaga Pre Spring/Summer 2015 & Nicolas Ghesquière for Balenciaga Spring/Summer 2013
3. Alexander Wang for Balenciaga Pre Spring/Summer 2015
4. Raf Simons for Christian Dior Spring/Summer 2013
5. Nicolas Ghesquière for Balenciaga Spring/Summer 2007
6. Nicolas Ghesquière for Balenciaga Fall/Winter 2011
7. Nicolas Ghesquière for Balenciaga Spring/Summer 2012
8. Raf Simons for Christian Dior Pre Spring/Summer 2015
9. Nicolas Ghesquière for Louis Vuitton Pre Spring/Summer 2015
10. Francisco Costa for Calvin Klein Pre Spring/Summer 2015

The world is Ouroboros and the future is returning. Wang turns to Simons turns to Ghesquière. As usual, the sequel is entertaining and perfectly fulfills all expectations. Yet, the satisfaction comes too early and disappears too soon. A plot summary:

Alexander Wang for Balenciaga = Raf Simons for Jil Sander & Christian Dior (trying)
Raf Simons for Christian Dior = Nicolas Ghesquiere for Balenciaga (borrowing)
Nicolas Ghesquière for Louis Vuitton = Nicolas Ghesquière for Louis Vuitton (being)

Their new heroine seeks to look strong and sexy. Phrases that please everyone. Blockbuster couture. But no one is handing out popcorn.
/HORST

Image credits Vogue, Catwalking

Tokyo Diaries II

A mental travel preparation.







Yoshihiko Ueda Mies van der Rohe, 2012

The foreign view and observations of a visitor - a fundamental exercise of Modernism. Accept, adapt, react. Ueda embarked on a pilgrimage to photograph and document more than just a site but an emotional state.
/HORST

Paths Towards Modernity II

A fictive documentary in art and fashion.

1. Georg Baselitz Familienbild Ancora, 2009
2. Jil Sander Fall/Winter 2007
3. Jil Sander Fall/Winter 2007
4. Georg Baselitz Victor Brauner Besucht Dix, 2008
5. Jil Sander Fall/Winter 2000
6. Georg Baselitz Und Die Ganze Folklore, 2009
7. Jil Sander Fall/Winter 2011
8. Georg Baselitz Besuch In Ekely, 2005
9. Jil Sander Fall/Winter 2011
10. Georg Baselitz Ekely, 2004
11. Jil Sander 1990
12. Georg Baselitz Untitled, 1998
13. Jil Sander Fall/Winter 2004
14. Georg Baselitz Elke I, 1975
15. Jil Sander Fall/Winter 2003
16. Georg Baselitz Tränenkopf, 1986
17. Georg Baselitz Gut Grau, 2009
18. Jil Sander 1966

Georg Baselitz and Jil Sander/Raf Simons share a rawness, immediacy and severity. Mostly depicting/proposing men in suits and women in primary colour dresses. They are minimalist, restrained and, yet, messed up. The purity of imperfection.
/HORST

Artificially Flavored, Primrose Path

Dior Spring/Summer 2014

After his ingenious investigation on the psychological work of Warhol and Schiaparelli, Raf Simons is returning to his concept of 'Dior for Raf Simons'. We are confronted with 'boy scout' girls, a motif known from his biography. We are confronted with slashed typography, a motif known from his earliest and latest menswear collections. We are confronted with stripes, a motif known from his work for Jil Sander. In fact, we are confronted with beauty, a motif known from Raf Simons.
/HORST

Appendix:



1. Raf Simons Fall/Winter 2000
2. Raf Simons Spring/Summer 2014
3. Jil Sander Spring/Summer 2011

Belated Regrets, Once Again

Prada Spring/Summer 2010

And three years later, Miuccia gets back at me. What was a grey mesh wish-wash then, turns out to be a monochrome fountain of youth now. Which leads us to one conclusion: You can always buy Prada, and wear it some day eventually.
/HORST

See also original (quite opposite) review