Perhaps the mark of true genius is withstanding the testament of time; in that case, Viktor & Rolf's Fall 2008 collection deserves to be ranked amongst fashion's greatest moments. I've seen more runway shows than I can remember, but I still haven't found one remotely comparable. Due to the ephemeral nature of fashion, anything a few seasons old is liable to be hopelessly outdated. Yet three years later (a.k.a. a millenium in the sartorial world), this presentation still feels avant-garde and futuristic. It maintains an innovative quality due to its originality; despite its modernity, it avoids the familiar pitfall of "trendiness." Unconventional and extreme, the collection forwent the stamp of approval for a resounding statement. And what a statement it was. There were no flashing lights, elaborate set, or ostentatious theatrics. Instead, Viktor & Rolf utilized the pure, unadulterated power of minimalistic severity to the utmost. An all-white runway served as an immaculate canvas for a stark, striking collection, while an oversized wax seal bearing "V&R" was the only indication of the designers' names. The word "NO" was woven into the seams of the show, literally, from clothing to soundtrack to cosmetics. The design duo explained that it was a reaction to the fast pace of fashion, yet on a hopeful note, they closed with garments that read "dream on." Impact was the theme of the makeup as well as the message. An army of extraterrestrial amazons marched militaristically in slicked-back ponies and glossy cherry lips, eyes glowering beneath heavily kohl-rimmed lids. An acoustic soundtrack of fast-paced techno mixed with a chorus of "NO"s might have been hard to execute, but it proved an integral element; the dynamic rhythm and cutting edge vibe set the atmosphere for the entire show. The models were as fitting as the music and makeup; in a superb casting, the design duo chose a star-studded team that highlighted the clothes first and foremost without morphing into nameless waifs a la Calvin Klein. In particular, Horsting and Snoeren made excellent selections for the beginning and finale. Dramatically delineated in stark profile beneath the V&R stamp, opener Magdalena Frackowiak cut an imposing (and odd) figure in a coat emblazoned with pop-out letters. Facial expression unwavering and upper body robotically stiff, she strode mechanically as if in a trance, authoritative strut syncing flawlessly with the backbeats. With her severe bone structure and androgynous jaw, she proved the perfect combination of mainstream runway (exemplified by Natasha Poly) and edgy quirkiness (think Ranya Mordova or Alla Kostrometichova). Yet no other model simultaneously epitomized and electrified the show like Irina Kulikova, who rocked the final look. With her towering frame and alien-like features, the 6'+ Russian stunner stood head and shoulders (literally) above the rest as she glided down the catwalk in an asymmetrical column dress, "NO" flaring from the front in layers of curiously starch chiffon. Though the closing number may not have been the most daring, its simplistic impact could not be overlooked. The rest of the garments were fearless in their exaggerated silhouettes, from 3-D foam letters to ruffled collars and fantastically puffy shoulders. Instead of distracting, however, their over-the-top character was exactly what constituted their appeal. In other words, it was high fashion at its finest. Critics *cough cough Style.com* may have complained that such efforts were gimmicky, but they've clearly forgotten that fashion is more than just the clothes. It's about an image, an idea, a sentiment. And Viktor & Rolf captured that perfectly.
I know this is kind of old news, but since I'm not exactly a huge Taylor Swift fan, I haven't been eagerly awaiting the release dates of her music videos. Which is why I had no idea that male model Guntars Asmanis made a fitting, if surprising, appearance in Taylor Swift's "Back to December: vid. In case you haven't heard of him, he was ranked #38 on MDC in 2008 and has walked for Calvin Klein, Prada, Miu Miu, Missoni, Versace, Moschino, Fendi, Hermès, Louis Vuitton, YSL, Bottega Venetta, Thierry Mugler, and Chanel (for which he opened in 2007), among others. Apparently the country star handpicked him for the male lead, but never got to see him (which explains why the two never meet, much to the chagrin of traditional Taylor fans). They didn't much appreciate her choice, either. "Why is he pale, if the lyrics describe him as tan?" was an oft-bemoaned subject. I guess choosing a model who rocked skinny jeans, high cheekbones, and sleek motorcycle jackets didn't go over well with the conventional country music lover either. However, director Yoann Lemoine summed up what Taylor's preteen followers were unable to recognize: "I wanted a boy that was fragile and beautiful. I didn't want to go for a hunk or a perfect cheesy boy that would have killed the sincerity of the video." Perfectly said.
Burberry's spectacular handbags deserve the spotlight, and the creative directors behind their latest collection came up with a solution that was minimalistic enough not to distract from the design, but not so simple that it sacrificed viewer interest. There was no model and no backdrop, but the purses spoke for themselves. An invisible hand dropped them one by one into a water tank, whereupon they soared slowly towards the viewer in all their colorful magnificence, trailing streams of crystalline bubbles. The bags also appeared to contain some sort of transformative powers, converting into different colors and styles as they spewed sheets of water. The clarity of the surroundings emphasized the vivid hues, while the transfigurations made for some interesting screenplay. It was whimsical, fresh, concise, and served its purpose perfectly. Just don't try doing it yourself, unless you want a very expensive, waterlogged clutch.
The television ad features MDC's top-ranked model accompanied by male super Tyson Ballou (yes, he of the nude D&G ads) for a 30-second short directed by Fabien Baron. The black-and-white imagery includes footage of the jetsetting Stone in cars, planes, and a modern glass house complete with monochromatic bed and ocean view. It's sensual without actually revealing anything - ironic, considering Lara's other works, and Calvin Klein's often risque adverts (including too many banned CK jeans ads to count). It focuses on the striking androgyny of the model's face - and, of course, the classic simplicity of the clothes. The haunting soundtrack meshes perfectly with the impact of the images. It's concise, riveting, and powerful, just like Francisco Costa's designs.
The British uber-model's campaigns for the brand came out in August. But to keep interest piqued, Inez Van Lamsweerde and Vinoodh Matadin (two of fashion's biggest - and most unpronounceable - names) shot a snippet of the photo shoot, this time with multiple hair color changes and some interesting cartoon animations. What it has to do with clothes is inexplicable, but hey, it's Kate Moss.
Designer, photographer, author ... what next? Car salesman, it turns out, as Lagerfeld makes a foray into the automobile industry with an appearance in Volkswagen's latest campaign.
Miranda Kerr and Angela Lindvall star in the latest Prada campaign lensed by legendary photographer Steven Meisel. The monchrome images, languid movements, and soulful rendition of "Fever" invoke a jazzy downtown club in the sixties; one can almost smell the cigarette smoke and floral perfume hanging in the air. The theme is well-chosen: the throwback to a bygone era perfectly complements the classic traditionalism of the clothes. Yet the focus never strays from Miuccia's designs; a clever glimpse of a glossy leather jacket or delicate lace dress lure us as much as the graceful models or lilting lyrics.
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