Tag Archives: Spring-Summer 2006

B-Rude by Boy George Spring 2006: Chame Chame Chame Chame Chameleon

NEW YORK FASHION WEEK SPRING-SUMMER 2006
NEW YORK, Sep 17, 2005/FR/ – The Altman Building was at its full capacity of sitting and standing audiences Thursday night as Boy George was showing the second collection he designed (together with Mike Nichols) for his brand called B- Rude.

B-RUDE BY BOY GEORGE SPRING-SUMMER 2006. AN ILLUSTRATION BY JULIEN FOURNIE

B-RUDE BY BOY GEORGE SPRING-SUMMER 2006. AN ILLUSTRATION BY JULIEN FOURNIE

Reviving the eighties seemed to be the motto for the collection designed by the off the wall cult singer of these years for Spring 2006. It displayed bubble-gum like colors (Dentyne pink, menthol green, lemon yellow) with black as a counterpoint.

Using pure rubber on shorts or polos for boys and swimsuits for girls, the show did not just consist of gadget clothes for the beach.

The collection in fact also proposes to women some suits with skirts with large psychedelic prints, or medium length sheaths cinched by a set of heavier contrasting cotton belts. Some men could become very fond of a purple feathered and sequined denim ensemble.

Standouts include for menswear a black overall made of lacquered cotton with very sexy biased yellow zipper, and for womenswear a white cotton ensemble with embroidered shiny red crabs.

Very stylized punk hair by Sebastian and vividly colored make-up by MAC completed the show pertinently.

Clubbers and fashionistas will certainly appreciate some garments, but at least a third collection will be required before Boy George can be declared a fashion designer.

Interviewed yesterday, he declared that he was “interested by fashion, because the world of music was now sometimes too formatted” for him; let us hope that the freedom he is looking for will find more maturity? as he will confront the requirements of a really complete collection.

JEAN PAUL CAUVIN

Jeremy Scott Spring 2006: Edgy Egypt

NEW YORK FASHION WEEK SPRING-SUMMER 2006

NEW YORK, Sep 14, 2005 /FW / – Anubis, Horus, Isis, Osiris, Ra, Sekhmet, Thoth and their likes, headed by King Tut, have inspired Jeremy Scott for his Spring 2006 collection shown in New York tonight at the Altman Building.

If the subversive designer dares tackling the same theme as the most famous luxury brand in the world has used two seasons ago, he does not follow a trend, but opens a track offering the wittiest beachwear collection ever!

JEREMY SCOTT SPRING 2006 "TUT TV" COLLECTION. AN ILLUSTRAYION BY JULIEN FOURNIE

JEREMY SCOTT SPRING 2006 "TUT TV" COLLECTION. AN ILLUSTRAYION BY JULIEN FOURNIE

On a soundtrack that was a mixture of old oriental radio sound and traditional rock and roll, a moving mummy came along, with tight and torn Bermuda shorts and sleeved T-shirt.

The show continued with an impressive number of tops, skirts, tanks, bathing robes and swimsuits designed both for men and women. They were followed by panther prints on eggshell and then dollar green, on the same kind of apparel.

Hunks and desert queens were wearing very fitted bathing suits under robes and wraps. The futuristic Nefertitis’ faces, who displayed a very simple but effective make-up with just two stripes of glittering gold above and under the eye, were wearing very classic black high heels, while the likes of King Tut were walking in heavy panther printed green sneakers.

Gold was also present in the accessories, very big necklaces or bracelets that looked like a new version of Cesar’s compressions and culminated in a very sexy only gold bikini made of metallic leaves.

Wearing only a T-shirt with sleeves that had the shape of a djellabah, a very sexy male guide seemed to open the way to a flock of tourists all dressed in green beach attire with Jeremy Scott’s signature dollar print, gold accessories and sunglasses.

Twenty-first century Tuts and Cleopatras then went to Florida in their lovely tee shirts bearing on their front the logo for this “Tut” collection with hieroglyphically stylized letters and on their backs prints of King Tut wearing sunglasses in a TV set, a surfing mummy, or an antique portrait of the designer as a Roman Caesar.

To whom might think that this collection can hardly sell, I would recommend to have a closer look at the T-shirts, they could easily become must-haves on the beach this season for the trendiest set.

JEAN PAUL CAUVIN

David Rodriguez Spring 2006: Languid and Luxuriously Casual

NEW YORK FASHION WEEK SPRING-SUMMER 2006

NEW YORK, Sep 11, 2005 / FW/ — Set at the Style Lounge at Times Square, the David Rodriguez show actually opened up a whole window of the studio where it was taking place to extend its runway to the extremely busy street outside.

In this unusual and extravagant location, David Rodriguez sent a collection of 48 looks on the catwalk to recall an era of 1970’s jet-set style and decadence.

Adding embellishment and detail to clean sportswear pieces such as tunics, shoulder-baring blouses and voluminous trousers with innovative pleats on the side, this designer obviously inspired by the Mediterranean, has created a relaxed and chic collection for next summer.

MARIE MEYER AND CAROLINE RAUSCH IN DAVID RODRIGUEZ SHOW FOR SPRING-SUMMER 2008 - AN ILLUSTRATION BY JULIEN FOURNIE

MARIE MEYER AND CAROLINE RAUSCH IN DAVID RODRIGUEZ SHOW FOR SPRING-SUMMER 2008 - AN ILLUSTRATION BY JULIEN FOURNIE

His most fantastic pieces are the extremely wide-bottomed trousers, some pleated on both sides, some on only one side or a type of new saruel pants with a side split. The trousers that combined both – a side split on the one side and pleats on the other, worn by Caroline Rausch, were really successful!

These looks will be perfect outfits for a trip to Marrakech’s mythic Mamounia Hotel, a Dolce Vita weekend in Rome or a sophisticated casual holiday on the French, Italian or Spanish Rivieras.

Taking the nuances of desert sands, spices from the medina, and Sienna earth, his linens, chiffons and very light cashmeres all display very natural enhanced colors.

His evening dresses are less convincing and more conventionally shaped. Meant to create major red carpet statements (and too obviously inspired by the shapes of Giorgio Armani), these fail to convince with feathered applications or too many sequins and a general lack of structure.

Two notable exceptions are a sunset sequined long dress with all the shades you expect and the wonderful purple evening outfit worn by Marie Meyer.

Still, David Rodriguez has managed to design a wardrobe for ladies who can easily jet away and could be able to leave the beach, after sunbathing, wearing a quite dressed-up daywear attire that could also lead them directly to a night out on the town.

JEAN PAUL CAUVIN

Costello Tagliapietra Spring 2006: Chekhov Revisited

NEW YORK FASHION WEEK SPRING-SUMMER 2006

NEW YORK, Sep 11, 2005 / FW/ — As a lethal light bathes the wooden floor of the Altman Building’s basement, long painted-like silhouettes come forward on discreet and soothing music.
Models give life to their wax doll faces with a shiny complexion. Hair doesn’t hinder each girl’s natural beauty through a simple looking but elaborate pinned structure.

COSTELLO TAGLIAPIETRA SPRING-SUMMER 2006. AN ILLUSTRATION BY JULIEN FOURNIE.

COSTELLO TAGLIAPIETRA SPRING-SUMMER 2006. AN ILLUSTRATION BY JULIEN FOURNIE.

As models come and go, their dresses, blouses and skirts display a perfect technique for jersey cuts.
Innovative fabric balancing, the purest kimono sleeves, and fluid shapes sculpted on the bodyline, are the landmarks for this spring collection mastered by the designing duet Costello Tagliapietra.
Nothing in their approach is gratuitous. Every length, cut, drape, split is thoroughly thought out in each piece and leaves its color to be fully revealed.

Clay, eggshell, lavender never mix but compose a nostalgic harmony that recalls heroines of long-gone Cherry Orchards, revisited with contemporary pertinence.
These close-to-perfection clothes left in the air after the show an evanescent memory of these women who seemed to float just above the floor surface.

This is certainly due to the materials used in this collection and also to the research on clothes’ structure operated by this very talented and seriously passionate working couple of designers whose efforts and goals have become so unique that they seem to come from one same person.

The Costello Tagliapietra design duo most certainly opening up an unexplored track for the future.

JEAN PAUL CAUVIN

How do you show Fashion at a Fashion Show?

NEW YORK FASHION WEEK SPRING-SUMMER 2006

NEW YORK, Sep 9, 2005 /FR/ – Living my first day as an attendee of New York Fashion Week is some initiation which, probably because I am familiar with European-based fashion circles, is raising new questions about how you are supposed to show and sell the fashion pieces you create on both sides of the Atlantic Ocean.

Talking about organization, professionalism really rules here: we got our credentials to access the tents in no time, the PR and security staff there being extremely polite and efficient, everything goes smoothly.

Yet, respect to Paris – and this could also just be because Julien Fournié and I are brand new here- we can feel the lack of a certain je ne sais quoi, which could be called human warmth, personalization, conviviality.

How do you access shows, for instance? You must, in most cases, go through some PR assistants who give you your seating assignment and then you have to declare your name and media title, whereas you could expect to be recognized or to get a word about what you just published for instance, once identified. None of these here.

Efficiency rules and it can sometimes be at the expense of forgetting the human being behind his role.

Then you are guided through a series of waiting areas, for which I haven’t understood the reasons yet… Could there possibly be a sort of time when the rope could be open, from the first waiting line to the entrance of the venue?

But these are minor details. The main difference I see lies in the shows’ dramatization.

I know that the so-called MTV culture is certainly much more present here than in Europe and that it has greatly influenced our attention span. Still, I don’t think this means that only the first looks are important in a runway show.

With the notable exception of Kenneth Cole on this opening day, all the other shows I have seen were, in my eyes, lacking a well-built story.

When the climax of the show is just in the first five opening looks, it means the show fails at managing its audience.

This could partly be because each show seen here so far seems to be a mixture between a trunk show and a presentation where image brand comes first.

I think designers in Paris conceive it all in a different manner and do not necessarily plan to show the season’s best-sellers on the runway but to propose a universe, a flavor, an atmosphere, a story for their brand.

A good fashion show, according to French criteria, should tell a story, give a designer’s vision in a global show that should be pertinent, dramatized and have a beginning, a middle and an end… and a climax, which I would place, in most cases, after three quarters of the show have already been seen.

The shows we have attended yesterday were not built that way at all, again with the exception of Kenneth Cole, who was telling a “story.”

They were mostly showing the pieces that would sell and define the collection in their first five looks and the rest seemed less important, like a first strong continuous note that would extend all the way to the curtain call.

There were attempts at dramatization, but realized in a very clumsy manner.

Take the Gottex show, for instance: the first looks were really great, the Latino-Carribean inspiration was perfectly tuned to the season, and the styling with some girls carrying fruit baskets was original. Even the big prints swimsuits were bright.

GOTTEX SPRING 2006 - AN ILLUSTRATION BY JULIEN FOURNIE

GOTTEX SPRING 2006 - AN ILLUSTRATION BY JULIEN FOURNIE

But the pieces designed for the runway – those that will not be found in the shops – seemed to me like DIY. Absolutely unwearable and badly realized long gloves with huge bands linking both arms, last-minute stuck-on black feathers and a piece consisting only of badly placed elasticized bands really did not make up for a climax.

The last golden look with gold make-up all over the girl’s body was vulgar and certainly not giving the right image for a collection which had started in a much classier manner.

I saw no dramatization or story either at Naeem Khan or Esteban Cortazar, except maybe with the latter taking his bow… But should really the strongest image for a collection be the designer’s picture?

In the evening, even the designers selected by GEN ART to show at the Manhattan Center were lacking structure in their individual presentations, with maybe one exception: Borne.

I love exceptions and I am looking forward to be proven wrong once more in the coming days and also learning more things about fashion in America.

JEAN PAUL CAUVIN

Page 1 of 212