I guess I didn’t the memo to wear a little black dress to the little black dress event! The one thing I did not understand was: why were there 2 dresses in the exhibition that were red and dark blue??
Above were my two favourite dresses in the entire show.
The one on the left was a stunning Tom Ford gown made of chantilly lace with jet beading made in fall/winter 2011.
The one on the right was a Dolce & Gabbana décolleté sheath dress embroidered with lace and silk satin made in the 1990′s.
The third one is a stunning gown by Yves Saint Laurent, décolleté halter made of silk and sequins for spring haute couture 1990.
However, the dress that caught my eye in another sense was the sheer lace Comme des Garcons dress that Marc Jacobs wore to the Met Gala this year, which sold out after he showed it off. Saturday Night Live actor Seth Meyers wore it while hosting the Council of Fashion Designers of America Awards in NYC–with white boxers and bulky black shoes and high socks (imitating Marc).
Seth Meyers: “This has great ventilation. My nipples have never been so freezing. That is a long way to go to prove you’re wearing a clean pair of underwear. Must be nice heading to the Met having no fear that someone is wearing the same outfit as you. Hey guys, who wore it better: Marc Jacobs, or the window at an Italian funeral home?”
Issei “Issey” Miyake, one of the most well-known and respected Japanese designers in the world, refers to his designs not as clothing or ready-to-wear ensembles, but rather art pieces—art pieces very westernized but with an oriental flavour. The Miyake Design Studio in Tokyo was more than a place of design or production, but a laboratory that experimented with various blends of fabric and synthetic textiles.
Issey Miyake is very consistent with his vision. He says, “I like to work in the spirit of the Kimono, between the body and the fabric there exists only an approximate contact.” He does not use the kimono itself as many Western designers do—to add a touch of exoticism. He simply borrows its attributes of ease, adaptability and respect for the fabric and the patterns and shapes in space with it can create when the body moves.
Miyake has gained worldwide recognition for expert constructive innovations in cloth that recall the formalistic art of French couture. Consistently showing an admiration for the creative draping techniques of early twentieth-century couturière Madeleine Vionnet, Evident as much in his contemporary work as in his early 1980s manifestations, Miyake’s derivations reflect a love for Western fashion historicism. This ensemble is particularly reminiscent of Paul Poiret’s harem and lampshade ensembles, which reflected both the elegance of French fashion and the regionally inspired folksiness of Léon Bakst’s designs for the Ballets Russes. Poiret’s harem pant became a symbol of the 1910s liberated fashionista, just as Miyake’s interpretation signified a new modernism for the late twentieth-century client.
Issey Miyake incorporated the imagery of African and Middle Eastern textile decoration into his tailored ensembles. This ensemble exhibits the raw color and craftsmanship of African mud cloth, yet displays the Turkish trousers, sash belt, and sleeveless bodice of Eastern European regional costume.
Ensemble, ca. 1983
Issey Miyake (Japanese, born 1938)
Dark gray cotton and wool with taupe and cream mud-cloth style resist patterns
Paul Poiret’s “harem pants”
Madeleine Vionnet’s draping
My name is Maren Lindsay Newman.
I am a twenty year-young photographer. I am currently a junior at the Savannah College of Art and Design. Fashion Portraiture interests me most, but I enjoy other kinds of subject matter as well. I have six years of experience in this field. I lived in Europe, England and Switzerland, for seven years. I am an American, but a wordly one. I am currently deciding whether to change my major to Fashion Merchandising + Management and minor in photography (fashion). My dream is to work for a fashion magazine such as Nylon or Teen Vogue in the future.
I was born into a loving and supportive family just outside of San Francisco, California in 1992. Through high school, I thought I would pursue a career in acting, but my plans changed in my sophomore year when a friend asked me to photograph her with her new film camera. I fell in love with the medium. I realized that I wanted to take a step further into this hobby and found inspiration wherever I looked: in nature, family, friends, strangers, and random objects I came across. It became a hobby that took up most of my free time. In my senior year, I decided to take another step forward and pursue Photography as a career and attend the Savannah College of Art & Design. Having lived in both the US and Europe, I’ve traveled extensively and have been exposed to many different cultures and customs. My style has become an eclectic mix of playfulness and melancholy. I enjoy shooting portraiture with a fashion/theatrical accent to them. I’m not a fan offorced smiles or forced poses. I try to let the model’s personality and emotion apparent in my photographs.
My biggest inspirations are twenty-one year-old English freelance photographer, Kitty Gallannaugh, and TV shows like the British e4 hit series Skins. I’m very drawn to theatricality and comfort. My own personal style is plain, comfortable, and girly. I wear a lot of dresses with a simple silhouette such as the traditional empire waist. I am also very influenced by independent films such as “Unmade Beds” and early 20th century photography and stage fashion–actresses/singers such as Lily Elsie, Maude Fealy, and Phyllis Dare.
Trust your own two hands and creative instincts.
My photography website: http://marenlindsaynewman.4ormat.com/