ANDREA JANKE Finest Accessories

Thursday, October 6, 2011

New Look "Bar" by Louis Vuitton Spring/Summer 2012

Paris Fashion Week - Louis Vuitton SS2012 by Marc Jacobs

"After the hardness of Fall, we wanted something gentle and kind, fragile but strong, too," Jacobs reported. - Broderie anglaise dresses came veiled in pastel shades of organza; laser-cut lace tops and skirt were sealed in silk cellophane, the suggestion being, perhaps, that the content were too precious to be unwrapped. After an interlude of matte crocodile motorcycle jackets that felt short of edgy in their icy pastel colors, Jacobs affixed 3-D plastic paillettes to dresses with crystals and embellished tweed skirtsuits with ombré feathers, and in vague outlines of Dior New Look "Bar" suit in a minty green checked cotton nylon jacket and skirt.

Enjoy the Louis Vuitton Spring/Summer 2012 Fashion Show video at the end of this post & a wonderful 'Style your LOUIS VUITTON by Marc Jacobs' Contest! LoL, Andrea

Matte crocodile coats painstakingly hand-pieced together so that the scales match; an eggshell lacquer bag made with the assistance of the last man in Paris still in command of the 1920's technique. That sort of devotion to craft would come in handy were Jacobs to land the top design spot at Christian Dior and the couture atelier that comes with it. Broderie anglaise was used for exaggerated Vandyke collars, and as insets replacing the alternate diamonds on an Argyle knit. It perforated stiff little faille skirt suits and separates made from leather treated to look like scrunched-up sheets of cartridge paper. And in a playful take on the LV logo, it was used for parasols and to aerate clear plastic purses.

Jacobs took delight in treating some classic masculine wardrobe elements to the ultrafeminine makeover, a biker jacket in powdery spring-chick yellow or baby-blue crcodile perhaps, or a sweatshirt trellised in fine silver thread. The optimistic daisy motif was blown up larger still for with multi-scaled plastic sequins that trembled on some of prettiest short evening dresses of the season. To emphasize Jacob's fashionable volte-face, Kate Moss, last season's saucy Vuitton-dominatrix, was recast for spring as the ballerina on that music box in a gleaming white baby doll frock and Barbie white stilettos.

Kate Moss for Louis Vuitton Spring/Summer 2012

Selections made by ANDREA JANKE Finest Accessories

Photography by Yannis Vlamos/GoRunway

Photo Credit/Source: VOGUE

Enjoy my latest Marc Jacobs Spring/Summer 2012 post -

'1920's Fringe Look by Marc Jacobs'

&

'CONTEST | Style your LOUIS VUITTON by Marc Jacobs'

Wednesday, October 5, 2011

Silvery Mother-of-Pearl by Alexander McQueen

Paris Fashion Week - Alexander McQueen Spring/Summer 2012 by Sarah Burton: "It's all about Gaia, the wonder of nature, the sea."

With this one, she, like Riccardo Tisci at Givenchy and Karl Lagerfeld at CHANEL, and VERSACE, made her theme aquatic. Burton, howeever, must have thought long and hard before taking that plunge though, because the underwater world was also the ominous, apocalyptic theme Alexander McQueen explored in his last show, "Plato's Atlantis", for his spring 2010 collection. He saw the world drowned by global warming and women morphing into sea mammals with crustacean feet.

Enjoy the Alexander McQueen Spring/Summer 2012 Fashion Show at the end of this post by ANDREA JANKE Finest Accessories - The Fashion Channel.

Burton's way of looking at clothes is lighter than that of her former boss in both senses. Her collection despite the fact taht it honored McQueen's classic silhouette in the strict, suited opening, and his aggression in the lace-masked heads and gleaming, fetish black leather is actually far more life-affirming and free of construction. But there is not one iota of slipping back in the question of quality. In fact, this show, with all its allusions to coral, sea anemones, barnacles, frondy seaweed, silvery mother-of-pearl, and bone-white seashell, was practically at the level of a Parisian couturier, but created out of McQueen London studio, with the help of those many interns and their chiffon-massaging fingers.

Rich and imaginatively extraordinary as it was, it also elevated the McQueen identity to a diplomatic fantasy-plane beyond which questions can't be asked. Speulations as to exactly which dress the Duchess of Cambridge might choose from this fantasia are impossible. Like most women, she never dresses this opulenty in real life. Any woman who wants a translation of the froth and the curviform peplums which appear here will without a doubt find it in the parallel commercial collections Sarah Burton has sorted out just as beautifully.

Observing it all somewhere a little further off, David Burton, the designer's photographer-husband, remarked, "When you think about everything that's happened to her in the past eighteen months, you just couldn't make it up, could you?"