KATIE GALLAGHER A/W 10-11

Dazed Digital.com-- Katie Gallagher’s mystical presentation at Soho Grand takes us into “the heart of the woods.”

Text by Carolyn Brennan Photography by Chris Reed | Published 17 February 2010

http://www.dazeddigital.com/Fashion/article/6629/1/Katie_Gallagher_AW_1011


The mood backstage at Katie Gallagher was lighthearted as models gathered around a table filled with candy hearts and other sweets. “No smiling… act like lost cats!” read a nearby poster. Despite last minute complications involving a no-show model, Katie was cool, calm and collected- and ready to put on a breathtaking presentation. With only one previous fashion week presentation to date, the young RISD educated designer has already made a name for herself with her dark, ethereal designs.

With their big teased hair, appliquéd fingernails and dramatic cat-like eye makeup inspired by Katie’s own look, the models were transformed into beautiful woodland nymphs. The icy color palette included winter white, pale pinks, neutrals, grays and black. At show time the girls drifted into the room outfitted in sheer silk tops and dresses with cut out backs, futuristic leather jackets, zipper front skinny trousers and translucent leggings with geometric panels. A long white leather jacket with a large halo-esque hood was a definite standout, although Katie’s entire collection is sure to be coveted by free-spirited fashionistas.

Dazed Digital: What was the inspiration behind this collection?
Katie Gallagher: It started mainly with a painting that it did. I usually do paintings and drawings, so they inspire everything that make. It was a landscape full of pastels: greens, pinks, grays and whites.

DD: How are you styling the hair and makeup?
KG: The hair and makeup is like an extreme version of me: the big hair, the lines on the eyes. The faces are pretty pale, but not as white as last season. It’s more pure, just kind of whitening the models’ natural skin tones. As for the hair, we wanted it to be pretty big with lots of teasing. Because I’m doing a hood, we wanted it to look like a halo around the hair.

DD: I love your dark, gothic aesthetic. How have you developed it since last season?
KG: I don’t really consider it gothic; I usually just make what I would want to wear. I try to transform my two-dimensional drawings into 3-D. Right now I’m wearing most of my own clothing from my last collection.

DD: What designers are you most inspired by?
KG: Right now I really love a lot of Japanese tailoring, so I love Comme des Garçons, Rei is one of my favorites. And I always like Balenciaga.

DD: What made you want to become part of the fashion industry?
KG: I don’t know… I didn’t really know I would end up being in the fashion industry. I didn’t go to school to be in fashion, I went for painting. At RISD you do four years and the first year is foundation, so you have to decide during freshman year what you want to do. And I was always like, “painting, painting… or maybe I’ll do sculpture,” and then I became interested in apparel because I wanted to learn a new skill. I decided that I didn’t want to sit around in a studio and wait around to have someone tell me how to paint, because I already know how to paint. I just wanted to learn how to make clothing, and I just went from there.

ROBERT GELLER A/W 10-11

Dazed Digital.com-- The CFDA award-winning menswear designer pulls off another dark and romantic show.

Text by Carolyn Brennan Photography by Chris Reed | Published 14 February 2010

http://www.dazeddigital.com/Fashion/article/6550/1/Robert_Geller_AW_10-11


With his latest collection Robert Geller has really stepped out on his own. Much admired for his work at the influential cult label Cloak, the designer is carving out new territory and exploring a mix between downtown rocker cool and uptown sophistication. The show opened with a duo of fair-isle knits, and was soon followed by Geller’s signature striped suiting in rich shades of azure and plum. A model outfitted in a sleek black leather jacket paired with dusty blue lounge pants was accessorized with a thick distressed wool scarf and a bowler hat perched on top of his head. The hats and suede boots were done in collaboration with Common Projects.

Other looks included dramatic wool capes, black shredded denim, leather “puffy” jackets, and a black and denim blazer paired with an indigo tuxedo jean: a new take on the Canadian tuxedo. Wide legged shorts in the vein of Yohji Yamamoto and luxurious fur vests and scarves were also a fun surprise. And that’s what Geller does best– he’s a dedicated designer who just wants to have fun.

Dazed Digital: Congratulations! How are you feeling?
Robert Geller: I’m feeling really good, I’m exhausted but I’m happy. I’m ready to have a good time. I feel relieved– I guess that’s the best way to describe it.

DD: What was the inspiration behind this collection?
Robert Geller: I really wanted to marry upscale, uptown luxury with an indie rocker vibe. There’s a little bit of arrogance, but in the end it’s really cool because it’s such a nice mix of the downtown guy playing with the elements of old school suiting.

DD: I really liked all of the fur that you used.
Robert Geller: Actually it was all goats’ wool– there are apparently hundreds of different kinds of goats. The ones we used were Japanese mountain goats.

DD: How do you feel your collection has evolved from its inception? Robert Geller: I think in the last three or four seasons it’s become much clearer of what I am on my own. It’s also me stepping away from Cloak, which is something that exists already; I didn’t want to do that again. It’s becoming much clearer in my head about what the Robert Geller brand is, and who the customer is. You have an idea, but you don’t really know until you see people wearing the clothes.

DD: Music is really important to you, how do you decide on the music for the shows? Tonight you used a song by Denim, a rock band from the '70s.
Robert Geller: We work with Scott Mou– he’s an old friend of mine. We’ve been working together since way back. We sit together and I explain to him what the collection is about and then we talk about music and put together a playlist.

DD: You attended Rhode Island School of Design, but what first influenced you to want to become part of the fashion industry?
Robert Geller: It was the Belgians, it really was. It was the old Raf Simons back in the day– not that he doesn’t make good menswear today– but I really, really loved it back then, that was a big inspiration for me. Also, Ann Demeulemeester and the whole Belgian aesthetic in general. But Yohji Yamamoto and Comme des Garcons too.

THREEASFOUR A/W 10-11

Dazed Digital.com-- The avant-garde trio present an electrifying show inspired by the science of alchemy.

Text by Carolyn Brennan Photography by Shawn Brackbill | Published 17 February 2010

http://www.dazeddigital.com/Fashion/gallery/34/6633/52/Three_As_Four_AW_10-11

The basis of the designers’ abstract Autumn/Winter 2010 collection was the seven metals of alchemy and the planets that control them: the first being “lead dominated by Saturn” followed by “silver dominated by the moon,” and other metals including iron, copper and tin. As the show began, the models marched onto the runway through a cloud of smoke and took their places in a circle around a painted alchemical star on the floor.

The first look was a long asymmetric black wool coat with a tall leather collar guarding the model’s face. It was followed by a luxurious leather jacket with a curved front zipper, and several dresses made out of winding rope in shades of copper, metallic blue and black. These body conscious dresses seemed to take on lives of their own as they encircled each model like ivy clinging to a tree. Other looks included flowing silk capes and leggings with sheer curvy cutouts. The collection was a true study of the female form as fabrics mimicked and mirrored the shapes of the models’ bodies.

Dazed Digital: What was the inspiration behind this season?

Gabriel Asfour: Alchemy and metals.

Adi Gil: Each metal has a planet that dominates the metal. For instance, gold is ruled by the sun, silver is ruled by the moon, and mercury by mercury.

Angela Donhauser: And the music we played was Tomita’s Clair de Lune / Snowflakes are Dancing.

DD: How are the three of you able to work together to achieve a common vision? Do you ever have disagreements?

GA: All the time!

AG: We still ask ourselves how do we do it, but we somehow do.

GA: And we know that it’s just clothing.

AD: I think it’s meant to be, we all love each other and support each other… it’s like a snowman! (laughs) We’re a little family.

DD: I loved the way you styled the hair and makeup, and how you used netting over the models’ faces. How did you decide upon it?

AG: I think it takes awhile, I cannot really describe how, but we wanted to do something wavy with the hair that would work with the curving lines of the clothing.

DD: What were the fabrics that you used?

GA: A lot of leather, wool, silks, chiffons.

AD: And a lot of rope!

RAD HOURANI A/W 10-11

Dazed Digital.com-- The Canadian born, Paris based designer shows off a slick, sexy collection that’s more than meets the eye.

Text by Carolyn Brennan Photography by Mark Reay | Published 17 February 2010

http://www.dazeddigital.com/Fashion/article/6615/1/Rad_Hourani_AW_10-11


Thanks to his razor sharp aesthetic and bondage inspired style, in several short seasons Rad Hourani has garnered quite a cult following in New York and beyond. The designer’s army of darkness stormed the runway to the suspenseful tones of “Black Planet” by The Sisters of Mercy. There were dramatic capes, jackets with attached backpacks and the designer’s signature draped jackets and strap front leather pants. The most important theme of the collection was transformation: Hourani created many pieces that could be folded like origami into completely different looks. Though his price points are still sky high, Hourani’s fashion resourcefulness is just what we need in this economic climate.

Dazed Digital: What was the starting point for this collection?
Rad Hourani: The starting point was all about transformation, and about creating pieces that are unisex. With these pieces you can create both masculine looks and feminine looks, or you can create tough looks or sensual looks. It’s about making it your own way, and making it go with the mood that you are feeling each day– whether it be masculine, feminine or unisex. I was able to take one jacket and create many different shapes with it. For instance, the cape that you see on one guy is also transformed into a different jacket on another girl. It’s also worn as a skirt on another model. So we have around 12 different ways of wearing one item.

DD: I really liked all of the knits that you did, and how they obscured the models’ faces.
Rad Hourani: Yes, the silk cotton knits– these knits are transformable too. You can wear them as a skirt, or as a scarf or cape. With the knit cardigan you can take off the sleeve, turn it into a scarf, or you can wear it just as a vest or even as a skirt. So my collection is all about transformation and creating completely new silhouettes.

DD: How do you feel your collection has developed from the previous season?
Rad Hourani: I don’t really think about it that way. I think more about continuation from the last season. It’s things that I’ve wanted to do in the past but never had time to do. So I think the development will be how the pieces are able to transform, and you can take it very far. We had ten jackets, and with these ten jackets you can wear them 26 different ways.

DD: How did you decide upon the styling of the hair and makeup?
Rad Hourani: I wanted to do something timeless and unisex, in a way that isn’t trendy or the look of the moment. It’s all about slick silhouettes and models that look very modern. I don’t like references to the past. I don’t want someone to say, “Oh its ‘70s or ‘60s or ‘80s.” I wanted the models to look fresh and clean and completely timeless. And it’s all about the clothes. It’s not really about the hair and makeup for me because I want the clothes to stand out. But at the same time, you still have to apply perfect makeup and have flawless foundation, and that’s why I like working with MAC. They have the best products for these kinds of things.

DD: What’s your advice for young designers just starting out in the industry?
Rad Hourani: It’s important to always have a clear vision of what you want to do. It’s not about just creating a collection. Creating a collection takes so much time and if you want to do it right, it takes so much energy and effort. You have to be very passionate about what you’re doing. If you want to be a designer, you must be real to your vision and have faith in what you believe in… and you need to work really, really hard (laughs). It’s not easy. But if you put all of your energy and love into it, you will get somewhere. It’s all about believing in your vision and believing in yourself. And remember to think about what you want to wear, because that’s the most important thing.

UNITED BAMBOO A/W 10-11

Dazed Digital.com -- Menswear meets womenswear at United Bamboo’s swanky show.

Text by Carolyn Brennan Photography by Shawn Brackbill | Published 14 February 2010

http://www.dazeddigital.com/Fashion/article/6553/1/United_Bamboo_AW_1011

For Autumn/Winter 2010 Miho Aoki and Thuy Pham drew heavy inspiration from the fearless women of the 1930s, focusing on “the masculine part of feminine and the feminine part of masculine.” That entailed plenty of high waisted skirts, pleated trousers and wool overcoats, as well as draped silk dresses adorned with bows and embellished pencil skirts. The designers infused a bit of flair to the collection with shimmering fabrics and delicate sequined details, and despite the popularity of the bob haircut in the ‘30s, the models slinked down the runway with wild, untamable crimped hair. The duo closed the show with a black velvet sweetheart dress that was both sweet and seductive.

Zero Maria Cornejo S/S 10

Dazed Digital.com-- With a utilitarian appeal, Maria Cornejo held her new collection show at the Hosfelt Gallery on Monday
Photography by Mark Reay Text by Carolyn Brennan | Published 16 September 2009
http://www.dazeddigital.com/Fashion/article/4659/1/Zero_Maria_Cornejo_SS_10

City and nature collided at the Zero + Maria Cornejo show held at the Hosfelt Gallery on Monday morning. “The dynamic relationship we have with our surroundings; the beautiful tension of organic elements pushing through the cement of an urban landscape are what inspired me most,” explained the designer in her program notes. The collection kicked off with asymmetrical origami-like white linen dresses, soon followed by flowing silk tops, dresses and harem pants in a black and white pattern much like the rings of a tree. With plenty of twisted seam work and prints straight from the great outdoors (grass, water, wood, etc.), Cornejo was able to achieve an exciting sense of optical illusion.

A sleek navy waterproof nylon jacket had an ultra utilitarian appeal, and there were several striking leather jackets fit for downtown urbanites. The models were accessorized with tough wooden cuff bracelets and neck pieces by Saltlamacchia for Zero + Maria Cornejo, while Eileen Shields took care of the footwear, which included black leather heels cut open to expose half of each foot. Simply put, Cornejo’s collection was a breath of fresh air to the fashion set.

Rad Hourani A/W 09/10

DazedDigital.com-- The Montreal export adds a newfound shine and depth of texture to his latest collection.
Photography by Shawn Brackbill Text by Carolyn Brennan | Published 23 February 2009
http://www.dazeddigital.com/Fashion/article/2074/1/Rad_Hourani_AW_09


The famously self-taught Rad Hourani from Montreal has been carving out a hard-edged niche for himself, never straying too far from sexy androgynous looks. For A/W 08, that case remains but there was an added experimentation with fabrics and textures and jewelled embellishments that made Hourani shine on the last day of New York Fashion Week.

Dazed Digital: What were your inspirations for this season?
Rad Hourani: My main influence is myself. It's always something that is a continuity of the first collection I started. It's just a feeling... doing what I want to wear, it's a continuity of all of that. My references are always the same: architecture, graphic design... it can be an image, a movie, a person-- it can be anything. There are no specific influences. I always make clothing that I would like to wear myself. It's completely myself, as if I'm a frame that catches everything around me and related to me-- everything that I see and do. And my brain is like a computer that spits out what I feel like wearing.

DD: I attended last season's show and loved it. Is there going to be as much leather this time?
RH: There is always lots of leather, but I'm also really hoping to see how technology will evolve-- especially with the development of fake leather. I use real leather now, but I would like to eventually experiment with fake leather that looks and feels real. I would like to look into it one day, when it's the right time.

DD: Despite your "no-background background," how did you first become interested in fashion?
RH: I guess when I was a kid, my mom used to always take me to her seamstress. I was always surrounded by fabrics and pattern makers. I was really a little kid, so I didn't understand what it was all about. But then I also never wanted to wear anything that the other kids where wearing. Like when my mom would buy me the same outfit as my brother, there was no way I would wear it. I was always into something different-- something that has an aesthetic that doesn't belong.

DD: And lots of black!
RH: Yeah, and my background was really finishing high school, and after high school I started scouting. The one day someone said to me, "Ah, you have great style, why don't you be a stylist?" And I had no idea what styling was. From there I just really continued developing my personal style, and thinking about what I would want to create. I kind of knew that one day that I would start making a collection with my name as a brand-- but for a while maybe I didn't feel I was ready. I never like to do something half way, you know? I want to do it the right way. And I've always been like that about a certain aesthetic. But I'm not interested in fashion-- I'm interested in style. I speak to people who are interested in something seasonless. Something that they will figure out how to wear themselves and make it their own.

DD: What other fabrics are you using today?
RH: I always use silk, wool-- the classic fabrics that will never go out of style, but then I like to mix it up. I like paillettes, or sequins, and the effects of patterns. I look for fabric that has a comfort to it, and then I mix it up by adding some little touches. I always like subtlety-- but this time I feel like having fun so maybe I put more flash in there. When I pulled looks for the show, I like to pair the flashier pieces with more subtle ones.

DD: Which designers are you most influenced by?
RH: I've really always be attracted to Pierre Cardin. I think he was someone who started something that was a bit more futuristic, more modern and graphic. And he kind of invented fabric, he was a great designer. If I see something from another designer that I like, or something that relates to me, I will always relate it back to Pierre Cardin.

DD: Do you live in New York now, after showing in Paris in the beginning?
RH: Yes, part time. So I was living in Paris full time and it just felt natural then. After that I spoke to Wayne Sterling (my casting director) about casting the show and I said, "Ah, why not do it in New York?" And I like the idea of being from nowhere and everywhere. For me, cities are the same as numbers and the same as colors-- it's not something that has a limit to it. I feel very comfortable in New York, I feel like home here. Everyone has been very supportive here, so it's been great.

DD: What are your plans for the future of your label? Where do you see yourself in a few years?
RH: It's a continuity to the beginning, and it's really sticking to my style and just developing it as much as possible. It's like a feeling I want to continue... I would like to have accessories, shoes, bags. I would also like to eventually have my own perfume.

DD: What you have going on, it's like a way of life.
RH: Yeah, it's a world I've created... a world, my world that I have in my mind-- and if you like it, if you want to get in it, that's good, that's wonderful.

Rad Hourani S/S 09

DazedDigital.com-- This Montreal-based designer continues to show his signature asexual, aseasonal clothes.
Photography by Shawn Brackbill Text by Carolyn Brennan | Published 14 September 2008
http://www.dazeddigital.com/Fashion/article/1056/1/Rad_Hourani_SS_09


In a solid white studio in New York's Nolita neighborhood, an army of androgynous cyborg-like models marched through a maze of benches, clad from head to toe in black, black and more black. A well-dressed friend turned to me and said, "This stuff makes me want to go home and burn all of my clothing." And I'd pretty much have to agree. If my wardrobe consisted entirely of Rad Hourani, I'd be a very happy girl.

Nominated as one of Style.com's "Top Ten New Designers" after showing his A/W '08 collection in Paris, Rad Hourani has become a hot name for editors and stylists to watch. At just 25 years of age, the self-taught Montreal-based designer has built a solid reputation based upon his penchant for stark minimalism, strong geometric shapes, razor sharp cuts and bondage detailing a la Raf Simmons.

Of his designs Hourani says, "They are asexual, aseasonal, they come from no place, no time no tradition, yet they could be home anywhere, any time. They exude a sense of discreet chic, the essence of timeless style, drawn on a monochromatic and graphical canvas...sophisticated modern classics for anti-conformist individuals."

Consisting of impeccably tailored jackets, tunics, vests and skinny rocker pants adorned with methodically cut-out details and rectangular strips of leather, Hourani's unisex collection evoked crew of sophisticated cyber-goth militants from the future. Forget color for spring: the darkness is taking over.

Jolibe S/S 09

DazedDigital.com-- Joel Diaz puts on a minimal presentation that lets the clothes do the talking.
Photography by Shawn Brackbill Text by Carolyn Brennan | Published 09 September 2008
http://www.dazeddigital.com/Fashion/article/1006/1/Jolibe_SS_09


Jolibe by Joel Diaz is only in its second year, but the Dominican designer is just picking up speed with his menswear-inspired approach to womenswear. After graduating from Parsons in 1992, Diaz continued to develop his innovative tastes by working for the venerable Helmut Lang as well as Paco Rabanne and Theory, before launching Jolibe in the Spring of 2007.

When asked what inspired the ethereal looks from his latest collection, Diaz replied, "It all started with a brown piece of paper and evolved from there." Through his progressive thought process, the brown piece of paper in question managed to morph into an anthology of meticulously tailored diaphanous dresses crafted from silk, organza and chiffon, as well as drapey oversized trousers, vests and jackets. Diaz's color palette ranges from browns, blacks and tans to the brighter end of the spectrum with splashes of royal blue, salmon pink and plenty of gold. While layers of vertical panels and embroidered handiwork courtesy of a Afghan Hands (a charity founded by Martin Maulawizada to train and educate women in Afghanistan) lent a somewhat tribal quality to the dresses, other pieces (i.e. a solid gold pantsuit and a dramatic black dress with extended hips forming a trapezoidal skirt) look like they've been beamed to the studio from the future. "I can be impulsive sometimes," remarked Diaz, "Maybe it was because the Olympics were on while I was working on the collection, but there are a lot of stripes this time!"

Tim Hamilton S/S 09

DazedDigital.com-- A rooftop presentation complete with a soundtrack by LCD Soundsystem's James Murphy.
Photography by Shawn Brackbill Text by Carolyn Brennan | Published 09 September 2008
http://www.dazeddigital.com/Fashion/article/1007/1/Tim_Hamilton_SS_09


Foregoing the routine runway song and dance, New York menswear up-and-comer Tim Hamilton opted to throw a cocktail party & presentation in the penthouse of the West Village's Milkhouse Studios - complete with James Murphy and Pat Mahoney of DFA/LCD Soundsystem to supply the background beats. Like familiar characters straight out of a Bret Easton Ellis novel, the group of sharply dressed young models stood atop white blocks sporting sunglasses, chiseled good looks and wet hair slicked back into pompadours. The air was thick with the type of sexual tension that occurs when attractive young men and women stare awkwardly at one another while indulging in gin & tonics.

In a palette of mostly black, white and neutrals (with the addition of the designer's self-created "Hamilton Blue" - whatever that means) the collection featured plenty of looks that stylish girls will want to steal away from their boyfriends, including cashmere cardigans, striped tanks, black and white striped terry shorts, perfectly tailored blazers and two-tone bibbed button-downs. "I wanted to create shapes that are gender ambiguous but inherently masculine," Hamilton commented on his inspirations, which also included the cryptic works of 1960s artist Frank Stella. "Spring '09 is my take on futuristic street wear where boundaries are erased." Also fun were the striped clingy-in-all-the-right-places wool cotton long johns, and the juxtaposition of the grungey, punky lace up combat boots and futuristic metallic trench coats with the preppy pleated trousers made of seersucker and linen. With its feminine details and elements of mod, punk and wealthy '80s hooligan, Hamilton's S/S '09 collection's got something for everyone.

Savant S/S 09

Dazed Digital.com-- Feng Feng Yeh gives a first taster of what to expect of her "Savant-Garde" designs at New York Fashion Week.
Text by Carolyn Brennan | Photo by Zandy Mangold | Published 08 September 2008
http://www.dazeddigital.com/Fashion/article/994/1/Savant_SS_09


Feng-Feng Yeh (pronounced "fun-fun yeah") is the creative force behind fledgling New York womenswear label Savant, which unveiled its debut collection to packed room of extremely well-dressed hipsters at the Midtown Lumber Building this past Friday the 5th.

Originally a native of Tucson, Arizona, Feng-Feng enrolled at FIT in 2002 and made a seamless transition into New York's downtown nightlife scene by becoming an integral member of the Six Six Sick - a wild trio known for throwing killer fetes. And when this jack of all trades isn't designing for Savant or hanging out with her good friend and mentor designer Benjamin Cho, she currently works for Yves Saint Laurant, but has also held a stint with Narcisco Rodriguez and interned for Francisco Costa at Calvin Klein. With such a stellar resume and loads of experience, the future is looking bright for Feng-Feng and Savant.

As a prelude to the show, a short black and white film clip gave us a peek into the making of the collection, while also providing the designer's nostalgic albeit melancholy visions. The camera panned across ivy growing on a chain link fence, crumbling cracks in the sidewalk, an x-ray of a ribcage and an elderly man supported by a cane in the subway: all parallels on the delicate nature of the human anatomy. "[It] was inspired by medical braces used by invalids during the turn of the century and is a statement on the fragility of the structure of the human body," says Feng-Feng of her whimsical oeuvre.

Despite being packed like sardines into a small unairconditioned room, the show went on without a hitch (meaning it started only about half an hour late); Feng Feng's designs were well worth the slightly steamy wait. As Swedish pop darling Lykke Li's "Dance. Dance. Dance" set the mood, the first model appeared sporting a playful hot pink silk organza jumpsuit and grommetted navy dress coat in a cotton/silk blend. The mood was light, and the pieces were playful yet elegant with an antique, vintagey feel. Other looks included a white gingham blouse and lightweight denim shorts with cut out details, a ruffled navy bustier, and a black elastic bra layered over a gray cotton jumpsuit. Feng-Feng accessorized the models with chic leather driving gloves and quirky jewelry and buttons made from mother of pearl encased in resin.

The undeniable showstoppers of the night had to be the surreal bondage-style skirt and trousers made from elastic, which confined the models' frail bodies like imposing cages. "The elastic white pants were a magnified mirrored play on the gingham used in the white blouses," remarked Feng-Feng. Though Savant's pieces first appear to entrap the body, the overall ambiance of the collection is far from imprisonment. Wearers of Feng-Feng's designs ought to feel liberated from the limits of more traditional clothing.

Michael Angel S/S 09

DazedDigital.com-- The first show to kick off New York Fashion Week with a psychedelic kaleidoscope of colours bleeding into one another.
Text by Carolyn Brennan Photography by Mark Reay | Published 08 September 2008
http://www.dazeddigital.com/Fashion/article/985/1/Michael_Angel_SS_09_


Michael Angel kicked off New York Fashion week with a brilliant show on Friday morning. In the business of fashion for well over ten years, Angel cut his teeth as the Senior Visual & Creative Supervisor of SABA, otherwise known as Australia's most notable department store. Angel also held stints at both Diesel in London and Oakley in California before taking on the roles of international stylist and Style Director of Melbourne Fashion Week. Deciding to try his hand at fashion design, Angel's premiere collection debuted last February in New York.

Inspired by both the past and future, Angel's Spring/Summer 2009 collection fuses sleek and modern silhouettes with free-wheeling '70s rock swagger. The designer's hand-drawn patterns help intensify the fluid movement and energy of the clothing. Imagine the love child of Jil Sander and Balmain , and Michael Angel might just be the answer. "My girl is modern, sexy, confidant and at the same time she has that dash of rock 'n roll in her, she might listen to '70s rock, but she lives in the now and looks towards the future," says Angel.

With a psychedelic soundtrack blaring King Crimson's "Model Man," Primal Scream's "Silent Spring" and MGMT's "Weekend Wars," a line of glowing Marilyn Agency waifs stomped down the runway bedecked in massive platforms and seductive stares. Shear, floaty silks, chiffon and organza garments printed with abstract ombre-like patterns were paired with structured metallic separates, completing a look for fashion-forward girls seeking flirty fare with a side of edginess.

Collection highlights include a stunning black and white striped silk frock paired with matching nylon mesh leggings and Swarovski Crystal mesh shoulder pads; the simply gorgeous structured stretch metallic blazers and paneled dresses; an ivory crushed lame trench and silk twill dresses akin to bleeding kaleidoscopes of violet, electric blue and emerald hues.