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Milano Moda Uomo Accessories SS'13

Contemporary Italian Leather

by Seraplan 

7 images above shot by JEJ

Mode Homme Paris Accessories SS'13

Shades 'nouveau'

by Mykita & Linda Farrow

5 images above shot by JEJ

Milano Moda Uomo Accessories SS'13

Shoes with that Italian Flair... 

by Alberto Moretti

5 images above shot by JEJ


filmed by JEJ for FACADES

Nova Chiu commenced her show with a strapless number, at which most women would have a go.  Its colours were correct for spring and autumn and the piece could have easily been worn with a jacket, a pair of jeans, a long skirt, tights, etc...  The second and third dresses that followed need no explanation.  These were pieces made for women by a woman.  No one could look bad in them.  The trouser sets that followed were a let down.  Too busy compared to the preceding pieces, yet well worth as separate pieces.

All of Nova Chiu's pieces were lovely.  However, many of her beautiful tops would have stood up on their own without the busyness encumbered by their accompanying trousers.  Inversely, those very trousers would have been ravishing, topped by the simplest of pullovers: sleeved, sleeveless, strapless, etc... in cashmere, cotton, the finest of leathers and suedes, to name a few of many.  Nova Chiu's strongest ability: her clear understanding of a woman's comfort.  If she ever made a men's line, I would make a bee line for it.


filmed by JEJ for FACADES

As a resident of Amsterdam, where I expect the best in design from the most talented of a race already unfairly endowed with good-looks and tall stature, this collection, at best, can be described as transparently amateurish. Sisters, what were you thinking?  

As a whole, the palettes and colours were beautiful. Graphic cut-outs were a way to dart manipulations. Lots of their dresses in mixed fabric wafted down the runway although very few boasted sleeves, which were obviously not the collections' forté.  Few of the pieces glorify the female form but I think that that was part of their design philosophy.  There were very clever plays on transparent pieces with a certain transparent print beautifully executed on a skirt, a blouse and a full dress.  The collection's look is sure and directional but it falls short in sound dressmaking technique.  My two favourite pieces: a sober trouser suit in blue and, another, in black.  Apparently, these designers are well capable of producing seriously conceived and well-made garments.  I look forward to their next collection.


filmed by JEJ for FACADES

Luetton Postle commenced their show with a pantsuit that set the tone for the rest of the collection: a melange of materials which was a miscellany of fabrics well put together in a pleasing composite.  These were not scraps thrown together.  Rather, they melded together to form a whole.  The shifts that followed, also fused in a profusion of colours and fabrics were rendered 'acceptable' by a mastery of construction which belied the duo's youth.  Their understanding of the kind of shape or silhouette that brings out the best in women is palpable.  

Was the mix of fabrics, which was the bedrock of this collection, to my taste or liking?  Not really (But I enjoyed it.).  Were they done well?  Yes.  Did Luetton Postle construct the collection in a manner in which they fit well and moved and fell beautifully?  Without a doubt.  And with all those colours, did the garments actually have somewhere to go? The way the models happily sauntered, unmistakably so.  A duo to watch out for, they are.    


filmed by JEJ for FACADES

I could be wrong.  But I don't expect her next season.  A Dutch talent who apparently, as seen through this collection, thinks within the box (literally). 

With permission, here's an excerpt of a write-up on the the lady, by her compatriots: 

Her process involves little cutting or sewing. Instead, van Rees weaves each fiber directly into the desired shape. A modern fresh take on Chanel's tweed, whatever-she-means...bless her.

She lost me on "involves little cutting or sewing".  If you want tweed, go to the British Isles.  Chanel is all about cutting and sewing in all fabrics, with tweed being the easiest to manipulate.  Want something easier? Try bouclé.

And if her basic clothes had fit better, it would still be a laugh.  We were there. We got the keychain.  Even my housekeeper wouldn't accept it.  Do you even wear your own clothes, Mevrouw?  All the best of luck.

Ask José.  The worst of the collections.  And we love the Dutch.  Honestly.


filmed by JEJ for FACADES

The Vauxhall Fashion Scout Shows at the revered Free Masons' Hall were where we sprinted from the Somerset House to catch the collections of London's most promising.  The venue boasted the brave, new world of London talent.  This collection was certainly new but far from brave.  If this is the worst of what it offered, we certainly look forward to what it has in store for the future.  Watch and see for yourself.

Next New Names in Couture

Every year the Ecole de la Chambre Syndicale de la Couture Parisienne produces new names from around the world to watch out for in the future of Haute Couture. 


This year we have noticed:
1 - Quentin Lacroix,
2 - Maxine Congost,
3 - Sarah Lakhtara,
4 - Nelly Hoffmann,
5 - Marie Marquet,
6 - Min-hsuan Weng,
7 - Mathew Wong

All shots of Couture Foundation Pieces taken by JEJ @ Etablissement d'Enseignement Supérieur, 119 rue réaumur, 75002 Paris


filmed by JEJ for FACADES

The first of the pieces could have summed up the collection: bifurcated, washed-out and muted.  The jumpsuits were the clear standouts, especially the few that were in full length.  The palette in old rose, mocha, grey and yellow were lovely to behold.  The frocks paled in comparison to the graceful long dresses and the undulating pants and graceful jumpsuits.  I would have preferred a clearer statement.

HOEWAN (Simulation) SS'13

filmed by JEJ for FACADES

Okay.  I love irony.  Cuting-edge yet comprehensible; futuristic yet familiar; outré yet hinting at establishment.  This man is one to look out for.  He seamlessly marries leather to fabric, and more, as one does to gin and vermouth.  The models enjoyed wearing his creations more than the spectators ogled at them.  And eerily modern as his take on construction and design are, the wearer is rendered enviably thin and superiorly comfortable.  He also started in men's wear and José and I were lucky to have met him at his exhibition.  I shall hunt him down.  Enough said.

Caroline Charles SS'13

filmed for FACADES by JEJ

Caroline Charles opened the show to short printed pareos tied to bottoms of two-piece swimwear, which heralded resort wear.  The prints in diaphanous fabric, coupled with swimwear, smoothly evolved into graceful short bloomers and tops, then into long versions worn with easy, long-sleeved over-blouses.  It was resort, from morning to evening.  Classic yet refreshing.

Her next staple was an A-line wrap-skirt in black that grazed properly inches below the knee and grew in length as it ended to a pointed train which dragged at a manageable length.  The side slit rendered by the front overlap gave just the right amount of interest.  It was simplicity that did its job.  With this piece as a solid base, worn with a collection of easy to wear tops —from a simply-tailored sleeveless lace vest, to softly tailored, sashed and belted jackets— the line conveyed a message: simple separates, comfortable staples (workable with pieces old and new), and an understanding of their relationship to the wearer, still is a surefire way of being well turned out. 

Styling from London College of Style

New Names in Styling


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