I’ve finally got my third designer to add to the likes of Palmer // Harding (white shirts) and Lahssan (cool trench coats) and they hail all the way from Taipei, Taiwan.  Fabitoria are a young duo of girls, Fabiana and Victoria (see what they did there?) who have decided to start their label by specialising in digitally printed skirts.

Alright, it might be difficult to muster up enthusiasm about the rampant beast that is the digital print.  However Fabitoria have come up with the unexpected in their print compositions.  Strangely they coincide with an interesting chat I had with Jay of Haute Pop about the establishment of the New Aesthetic, a so-called machinic way of seeing things, using imagery produced by technology (from 3D-scanners to Google Streetview) for aesthetic reasons.

Fabitoria’s skirts don’t quite fit the mould but their prints definitely are born from our Google Image/Tumblr culture and they’ve taken it to a surreal extreme.  Rose petals float on top of a busy highway road.  Giraffes pop up in the waves of a beach.  Elizabeth I is seen wearing hot pink sunglasses.  These are just some of the weird scenarios that Fabitoria have imagined for their skirts.  More conventional print runs include enlarged botanical drawings (a la Stella McCartney) and undersea scenes (a la Peter Pilotto).

I’ll let the designer nods slide though when you look at the collection of prints as a whole.  I especially like that consideration has been given to both back and front with print placement carefully worked out on the two patchpockets, which means that the skirt can be worn either way round.  The hard thing will be to pick a favourite as according to their Facebook page, they’re all priced at around GBP100 each.  Ah the joys of converting strange currencies and finding out it costs a lot less than the starting figure.

In case you’re wondering what is that strange but enticing top that’s featured in the lookbook imagery above, I believe it’s from Victoria’s student work she did at Shih Chein university in Taipei.  The skirt in particular with its stitched lines of columns leading into the interior of a room on pristine white neoprene is particularly interesting.  Digitally printed skirts may not be the only thing on Fabitoria’s agenda if they get a little ambitious…

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Style Bubble | Pick a Skirt, Any Skirt by susie_bubble

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yatzer | ZegnArt by Ermenegildo Zegna

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The FADER| ASOS x It’s Nice That Hawaiian Shirts by Olivia Graham

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Craftsmanship and new techniques

Iris van Herpen is renowned for her remarkable outfits in which she combines traditional craftsmanship and zealous handwork with innovative techniques such as rapid prototyping and radical material choices such as processed leather sorts, synthetic boat rigging and the whalebones of children’s umbrellas. With these she creates sculptural effects with an astonishing visual impact, which appear both organic and futuristic. Creating a new silhouette is important in her work. Van Herpen regards fashion as a form of self-expression in which she translates her associations and fascinations with everyday reality into a collection. Each collection has its own narrative, and wearability is not the ultimate criterion.

 
For instance, Radiation Invasion is about the invisible radiation and signals all around us that make telecommunication possible. The Synesthesiacollection has a neurological phenomenon as its point of departure, where a mingling of sensory perceptions occurs. There are people who can ‘see’ music, for example, or can ‘taste’ colours.

 
Van Herpen’s work harmonizes with an important field of interest in the Groninger Museum, namely, the interface of art, design and fashion. The outfits that the Groninger Museum acquires in this domain are museum pieces with sculptural and conceptual qualities that stimulate further reflection on the phenomenon of fashion. In this framework, the Groninger Museum has already held presentations on the work of designers such as Azzedine Alaïa, Comme des Garçons, Viktor&Rolf and Hussein Chalayan.

 
Book

To accompany the exhibition, the first book on Iris van Herpen will be published. This volume contains an overview of all her collections up to the present, as well as an essay by fashion journalist Jean Paul Cauvin. The book will be issued in conjunction with BAi Publishers.

 
Compilation
The Iris van Herpen exhibition has been compiled by Sue-an van der Zijpp, curator of present-day art, and Mark Wilson, chief curator.
 
The exhibition has been made possible by a contribution from SNS REAAL Fonds.

 
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Groninger Museum | Iris van Herpen @ The Groninger Museum
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OEN | Stutterheim Raincoats by Mark Robinson
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When it comes to the genesis of his namesake rainwear brand, Swedish designer Alexander Stutterheim remembers it quite simply. “It was raining really heavily on the way to a big meeting with Saab and I was early so I stopped in a cafe for a coffee,” he explains. “I noticed that there weren’t really many people dressed for the rain at all—a couple of people in mackintoshes, but mainly just flimsy umbrellas or papers over the head,” he continues. Stutterheim had never paid much attention to what people were wearing to protect themselves from the elements, but he suddenly realized that nobody was making anything rain-specific with contemporary fashion in mind.

 

Adopting the fitting tagline, “Swedish Melancholy at its Driest”, Stutterheim brought his brand to life upon discovering a jacket his grandfather wore fishing off the small island of Arholma in Stockholm’s archipelago. “He was a big man in every way, defying the elements as he journeyed out to sea in all weathers,” he says. Indeed, the jacket was far too big for Stutterheim, himself a fairly tall fellow, and he vowed to buy one when he returned to the city. “I looked everywhere and there was nothing even close to my grandfather’s jacket—everything was Gore Tex and kind of tech-y. I even went to a couple of fishing shops, but theirs were too industrial and had lost the details of my found jacket,” he remembers.

Upon his return, Stutterheim conferred with a few sartorially minded friends only to find they too noticed a lack of gear with country-wear functionality and city-worthy style. He created his own toiles from a tablecloth he waxed for extra stiffness, and called in some favors from a pattern-cutter at V Ave Shoe Repair, well on his way to solving the shortage.

 

With a refined pattern in hand, Stutterheim set out to source details—no easy feat for a copywriter with no formal fashion training. “It was important to keep the whole process as ‘light’ and fun as possible. Also, to try and keep the heritage of the original garment, fabric and finishing—combining that with as much ‘Swedishness’ as possible,” he says. Stutterheim wanted to keep it local, settling on Sweden’s last remaining factory producing garments on a large scale, located in Borås, the country’s fashion center.

Working out of his flat, Stutterheim sold out of the initial run of 250 black jackets, each accompanied by a hand-typed note sealed in a pocket for the new owner to find. Now, coats come numbered and labeled with the signature of the seamstress who created that particular one.

“While, yes, it is more expensive, I can keep an eye on every stage of the process,” says Stutterheim. “Eventually I decided to give it my name rather than some brand name. But to me melancholy is deeply connected with ‘Swedishness’ and how we look at things. A rainy day is a wasted day so I wanted to see if I could change people’s attitude to the weather.”

Since the initial desire to create something durable and fashion-conscious at the same time, Stutterheim has mastered a progressive cut with high arm openings and a boxy, narrow fit. The sophisticated matte-finish oilskin is lined for breathability and branded (literally) with a small Sutterheim logo at the hem. Seams are not vulcanized, but sewed by hand before being hand-taped for waterproofing.

 

Having stumbled upon a few dozen pairs of deadstock classic rubber boots from the Swedish army, Stutterheim is currently sourcing potential manufacturers to release a new run. A pair of new pieces is also in the works—a Swedish mackintosh for men called the Arvid, and the Lydia, a women’s rain cape—named for two lovers who meet in the rain in the classic Swedish novel, “The Serious Game”.

Stutterheim sells online from the brand’s e-shop.

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Cool Hunting | Stutterheim Raincoats by Richard Prime
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This is a selected news. Every week we select the best articles about creative fields.
[1] UNIQLO | UNIQLO and UNDERCOVER Reveal Their First Collaborative Collection
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[2] Fast Co Create | Uniqlo premieres new collaborative clothing line with Google-powered site
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Jean Dujardin

Adored by critics and film-goers alike, the Best Picture Oscar-winning film The Artist is worthy of the many accolades it has received. After we parsed the tuxedos worn during the 2012 Oscars ceremony, we’d like to share some of the charming elements of the winning film with you today – most especially the men’s clothes!

John Goodman in The Artist

Set in the late 1920’s and early 1930’s, for our purposes, The Artist occurs during the golden era of classic men’s style in the US. At the time, talkie films were emerging, and actors like Fred Astaire were beginning their ascent into stardom. The picture is beautifully shot in black and white film, and like the main character George Valentin, the film is mostly silent. The occasional sound effect and appropriately tinny, vaudevillian music are the only accompaniments.

For the viewer, it takes a little while to adjust to such a drastically different viewing experience – the sound is noticeably quieter, the vivid colors and textures of HD film are gone, and the shooting style is restricted to era-specific camera methods, most often from stiff floor-mounted cameras. Clearly, the director went to great lengths to mimic the original features of a silent production. The plot relies heavily on facial expressions, context, and body language to convey the development of the plot. At the very least, The Artist is the most interesting and unique film composition of the awards season.

Bérénice Bejo, dancing

The Plot
 
For those of you who have not seen the film, and would prefer to not have the plot revealed, please continue down to the section entitled “The Clothes.”
 
In 1927, George Valentin (a likely reference to Rudolph Valentino, the famed early silent film star) is the immensely popular silent film star under contract with Kinograph Studios. His dog Uggie is his film sidekick by day and his loyal companion by night. At the opening night of Valentin’s most recent film, he bumps into a female fan, Peppy Miller, who is there to get his autograph.
 
A photo of the moment is featured in the paper the next day, and when Peppy turns up as an extra on his next film, the studio manager Al Zimmer (played by John Goodman) tries to throw her out. Valentin steps in, and insists that she participates. Valentin is clearly taken with her, and with a little guidance from her famous associate, the film turns out to be the start of Peppy’s successful film career.

The Artist in a Tuxedo with Flap Pockets

In 1929, the stock market crash is looming and Kinograph decides to discontinue silent films in favor of talkies, citing Peppy as one of the new faces of Hollywood. Disbelieving, George finances and produces his own silent film. Sadly, it is a pitted directly against Peppy’s new film and is a total failure. Valentin’s wife leaves him, and he is destroyed financially and professionally. We reconnect with George as he is living in a dingy tow room apartment, having sold all of his valuable possessions.
 
Clearly haunted by the loss of his livelihood, Valentin sets his private film collection on fire. His dog brings help, and George is hospitalized for injuries sustained in the fire. Peppy visits him in the hospital, and learns that he was found protecting one film, which she discovers was the film George insisted she join. George awakens at Peppy’s house, and while wandering he discovers a room entirely filled with his auctioned property – all purchased by Peppy.
 
Distraught, he contemplates suicide, but Peppy finds him in time. They reconcile, and recalling George’s talent for dancing, Peppy makes a musical with him. In the last scene, we see a restored Valentin happily dancing with Peppy, amid fully articulated sound. When asked to do the scene again, George responds “with pleasure” in heavily accented French, revealing his hesitancy to join the talkies.

The Artist at the Peak of His Career

Clothing
 
Considering the director’s concern for technical detail, I had high hopes for the film wardrobe – especially for the male characters. Other than main actor George Valentin, not many men have a chance to display their clothes for more than a few seconds. The one exception is Al Zimmer, but even he is rarely onscreen for long.
 
Other than a few tweed suits and sportscoats, we mostly see evening wear: tailcoats and tuxedos. Throughout the film, Valentin wears the same tailcoat and vest, switching only between white and black bow ties. In fact, black bow ties were never worn with a tailcoat, unless you were the server at a restaurant or if you were attending a funeral. Even then, most men would have worn a black waistcoat and not a white one.

Waistcoat Too Short

Tailcoats & Tuxedos
 
Valentin’s waistcoat is made of white piqué cotton fabric and has cloth-covered buttons, but it is soft and it has the cut of a day waistcoat, not an evening waistcoat. This means the V is rather high, whereas traditional evening vests would have had a deep U or V cut to display one’s shirt front and studs properly. Also, evening waistcoats would have been starched – not soft. On top of that, the vest is a little to short at the bottom, leaving the main actor’s waistband exposed many times and revealing the shirt underneath.
 
The evening shirts in the 20′s and 30′s had stiff detachable collars, but in the movie, you only see modern day evening shirts with attached, unstarched collars. At least they tried to use single cuffs for tailcoats and double cuffs for tuxedos!

Jean Dujardin – The Artist

The tailcoat trousers lack a double galon stripe, even though this remains the absolute standard for men’s evening wear to the modern day.His shoes are only clearly visible in one scene, and it seems like he wore black patent leather oxfords without a captoe, which was absolutely correct back then.However, it is doubtful that a man of his resources would have worn an adjustable bow tie – it’s a faux pas for formal occasions as it is! He much rather would have donned a sized one that fit his neck.
 
The tailcoat itself has lapels that remind me a little bit of the late 1920′s, although the trousers are full cut and more 1930′s style. Most people assume that clothes during that period were all the same, but that couldn’t be further from the truth. In the 1920′s suits were cut more closely to the body, and trousers were much narrower. In the 1930′s the drape cut created more room over the chest, lapels got wider, and the shoulder and pants became fuller. In The Artist, the blending of the genres deprives the leading man of authenticity in his dress. What a shame!

Adjustable Bow Tie

At the very end of the movie, we can see the two main characters dancing like Fred Astaire and Ginger Rogers. In the close up, you can see that Dujardin wears a tuxedo with flaps on the pockets – again, a highly informal detail that no elegant man would have worn back then.
 
On the other hand, I must say his mustache looks always superb! Also, the ties and suspenders he wears look very 30′s. His casual suits and jackets are neither 1920s nor 1930s, but something in between. With regards to the fabric, it seems like they tried to find something more authentic but the cut of the waistcoat – with the bottom button fastened – is not the way most elegant men wore it back in the day. His dressing gown looks pretty decent. Towards the end, you can see that they visually showed his desperation by providing him with slightly baggy, ill fitting clothes. Overall, despite the film’s obvious attractions, I must to say that I am pretty disappointed with the men’s clothing. Compared to Downton Abbey, the costume designer did a really poor job in terms of authenticity and accuracy.

Vest Buttoned All The Way

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Gentleman’s Gazette | The Artist & Men’s Clothes by Sven Raphael Schneider
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PHOTOGRAPHY: Ross Mantle

 
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The FADER | Two Lovers: Rachel Roy and Hyden Yoo by Deidre Dyer and Nick Spain
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Women’s Color Snapshot // Fall 2012

 
From love potions and the magical hour of sunset to witches and warlocks, fantasy and illusion are inspiring designers this fall season. With an unexpected mix of darks, brights and neutrals, they cleverly manipulate reality to transport consumers to an enchanting place, free from the stresses of everyday life.

  
J. W. Anderson fall 2012 and Proenza Schouler fall 2012

 
“By playing to consumers’ practical side with versatile neutrals, and boosting their confidence with bold, spirited hues, this skillfully balanced palette has something for everyone,” said Leatrice Eiseman, executive director of the Pantone Color Institute®. As the season transitions from the heat of summer, Bright Chartreuse, a vital yellow-green, pays homage to a typical spring shade and creates a bridge into the cooling days of fall. Reminiscent of bright green foliage, it provides a perfect accent to every color in the palette.

   Acne fall 2012 and J. W. Anderson fall 2012

 
Like the name implies, Pink Flambé is a delicious, vibrant pink with a bit of heat to it. Pair it with vivacious and enticing Tangerine Tango for an ongoing retro feeling. Or, to bring a calming element to the mix, combine these vibrant warm tones with Ultramarine Green, a deep, cooling blue-green. Ethereal Rhapsody is a grayed-down purple that also encourages comfort and serenity with its quiet, muted tone. Honey Gold, a mellow, burnished yellow, suggests the soft-muted tones of sunlight to brighten a fall day. Pair it with sensible and strong Olympian Blue, a patriotic blue that will surely make its way into fall and winter athletic apparel.

   Celine fall 2012 and J. Saunders fall 2012

Rich and robust, French Roast is a tasty, sophisticated hue that is a great alternative to the black and charcoal basics typically worn in the fall. Other staple neutrals include elegant and versatile Titanium, the quintessential cool gray, and Rose Smoke, a veiled rose tone that pairs well with Rhapsody and Titanium. For nearly 20 years, Pantone, the global authority on color, has surveyed the designers of New York Fashion Week and beyond to bring you the season’s most important color trends. This report previews the most prominent hues for fall 2012.

   Richard Nicoll fall 2012 and DKNY fall 2012
 

 
Men’s Color Snapshot // Fall 2012

  Loden Dager fall 2012

 
Similar to this season’s palette for women, there is something for everyone in the top color selections for men. Rhubarb, a deep, pungent hue, brings intensity to the palette, and is best paired with Tangerine Tango and Honey Gold for a typical collegiate look. To hit the ski slopes in style, combine Ultramarine Green with Bright Chartreuse and Olympian Blue for the ultimate in winter athletic apparel.

   Simon Spurr fall 2012 and Tommy Hilfiger fall 2012

 
Moving from the vibrant tones of fall to more neutral basics, Whitecap Gray is a classic off-white, reminiscent of an overturning wave under a winter sky. Sea Fog, a gray with a muted purple cast, exudes just the right amount of confidence and masculinity. Pair these two neutrals with the strength of Titanium for a subtle and sophisticated direction. Combine all three neutrals in a dress shirt or tie with basic, versatile French Roast for a classic fall look.

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DEXIGNER | Pantone Fashion Color Report Fall 2012
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