Back in March, in reviewing a fashion show staged by Kiwi hipster collective Stolen Girlfriends Club at the New World supermarket in Auckland's Victoria Park, Pedestrian noted"We can only hope that next time we're at Coles it's this eventful". They didn't have to wait long. Last week, Coles ripped off the idea for its 'Aisle Avant-Garde' presentation in Sydney in collaboration with Sunsilk, showcasing the work of 12 UTS students who were each asked to create a gown that incorporated Sunsilk's logo and colours. Above and below are a few shots from last week and, bottom, a video of the SGC original at New World, a New Zealand supermarket chain owned by Foodstuffs. Needless to say, Coles doesn't take quite such a laissez-faire attitude when it comes to anyone shoplifting its goods. Although given that Coles apparently rebranded its Australian supermarkets as Coles New World in 1962 - the year before New Zealand's New World chain was founded - perhaps there's 50 years of trans Tasman tit for tat at play here.
It's three years since Josh Goot last showed in Sydney – and just six years since he launched his brand here, with an unforgettable collection of what he dubbed ‘tailored comfort’, realised in a space age track-and-field silhouette that included jersey trench coats and blazers. After showing for multiple seasons at New York and London Fashion Weeks, Goot has firmly established himself at the vanguard of Australia’s new designer generation. And what international polish he brought to Australian Fashion Week last night. The production, co-signed by The Artist Group and Mr and Mrs Fish, dragged arguably the week’s biggest crowd up six flights of stairs to an abandoned inner-city carpark, transformed for the evening to a futuristic sporting venue. Partially inspired by the German expressionist artist Gerhard Richter, the collection, which was delivered in modern techno silks, sporty neoprene and an eye-popping palette of fluoro pink, cobalt blue, Kelly green, black, silver and white, focussed on a voluminous silhouette. More to come.
Inspired by moths and motocross, Kate Sylvester’s Spring/Summer 2011/2012 collection is called ‘Into the light’. Due to the awkward lighting of her show at the Newmarket saleyard in Randwick last night, however, ironically many have complained that didn’t get to see it. In an uncharacteristically abrasive spray, even Vogue Australia’s Damien Woolnough complained today, “If I want to sit in a dark room filled with smoke I'll visit the share house of my university friends”. Frockwriter stayed backstage for the duration and had a much better view. It was a fantastic, if macabre, collection, with two motifs at its centrifuge: moth markings, which included a full death’s head moth motif used on T-shirts; and then a flame graphic, which doubled up on the revhead theme, as seen on coats, dresses and several fantastic sheer jumpsuits, shown with the tops worn both up and down – on the latter occasion, teamed with a lacy brassiere. There was a score of military-nosed city shorts, teamed with silky knit tops and sporty zippered bomber cardis and many quite beautiful silk georgette and lace dresses in a smokey palette that was occasionally popped with daffodil, turquoise and kelly green. Some dresses were festooned with floral applique, while others featured destroyed ‘moth’ holes. Given that these sorts of technical issues tend not to happen at the RAFW HQ at Circular Quay, it will be interesting to see if the New Zealander rethinks her decision to show off-site in Australia in future.
In three months, Sylvester’s fans will get a chance to see her stage another show – when she rejoins the New Zealand Fashion Week schedule after a one year hiatus.
It’s been a long time in between Lover shows at RAFW. Five years to be precise. The Black Rose Army collection, shown in May 2006, was staged in a grungy, inner-city dive. Last night’s presentation of The White Serpent SS1112 collection demonstrates that this Sydney brand with a global cult following, which celebrates its 10 year anniversary this year, has most certainly come of age. A slick, ultra-sophisticated affair staged inside the Sydney Opera House, the collection was dazzling in its simplicity. Rendered in a three note palette of ivory, black and scarlet red, the collection flirted with masculine/feminine stereotypes: ivory tuxedos and jumpsuits with ultra wide-legs and mannish, oversized jackets were layered over sheer white blouses with pie-crust collars and lace inserts, then segued into a suite of killer lace dresses. Although the lace dress is a Lover signature, these sophisticated versions said not so much Woodstock free spirit as red carpet siren and they could give Collette Dinnigan a run for her money.
Lover’s Susien Chong and Nic Briand evidently don’t think they’re dependent on RAFW to raise their profile. Early social media adopters, who created their first fashion film in 2003, the duo has been quietly building up a loyal fan base. But good to see them back on schedule, with the discipline of pulling together a 15-minute brand statement.
The staging, a little reminiscent of Givenchy’s and McQueen's in-the-round presentations, revolved around a central video split screen, onto which was projected images of the models.
The stellar cast included Australia’s big new runway names Julia Nobis, Lauren Brown and newcomers Ruby Jean Wilson, Rose Smith and Melissa ‘MJ’ Johannsen, who have been carving up the international runway circuit - in Johannsen’s case without, ironically, having previously set foot on any Australian runway.
Anyone interested in reading more about Australia’s new model army should pick up a copy of this Friday’s Wish magazine inside The Australian, which has a four-page feature. Here is a teaser.
Frockwriter hears that Carla Zampatti had to have her arm twisted to use the basement of her Kent Street headquarters as a show venue on Thursday. Originally used in the late 1800s as a carriageway for horse-drawn vehicles, but now serving as Zampatti's garage, presumably the Australian fashion industry veteran figured the crumbling industrial interior was not sufficiently chi-chi for her classic, uptown designs. Celebrating her 46th year of business this year, good to see Zampatti take advice from a younger creative generation. The space was not unlike many edgy show venues that you would see at London Fashion Week. And stylist Michelle Jank made full use of the 19th century brickwork, using it as the backdrop for a model tableau that was choreographed at the end of the show. Wearing the strikingly elegant eveningwear from Zampatti’s 'Strength of Simplicity' Spring/Summer 2011/2012 collection, which included columns with sporty necklines in tangerine, cobalt, black and ivory and a pretty short shell pink taffeta puffball dress - all teamed with beautiful, Beaton-esque picture hat-like silk georgette headpieces from Jonathan Howard ‘Hatmaker’- the models draped themselves over chairs and ladders at the end of the runway. The image evoked the iconic Cecil Beaton photograph of models in Christian Dior’s 1957 collection, which has been copied a number of times by fashion magazines - one example of which we spotted backstage as reference.
Although the name of Jank's magazine reference escapes us, the models appear to include Kirsten Owen, Stella Tennant and Naomi Campbell, which dates it. See below for the Beaton original, Jank's reference and a shot of Zampatti's finale, which is a dead ringer for the magazine image in more ways than one.
Although it is unclear who else may have been involved in the production, interesting that Jank would choose to return to this concept.
The Victoria's Secret Fashion Show 2010 screened in the US on Tuesday night. Predictably, it did not take long to wind up on YouTube. Here is the entire show, below, which frockwriter noted last month did not include a single Australian model for the first time in four years. Several Australians were, however, involved in the show. For the sixth consecutive year, Sydney jeweller Jenny Mercian created some spectacular showpieces, including this fringed corset, above. And New York-based Sydney expat casting director and show producer Kannon Rajah can be seen in numerous shots sending the models out onto the runway.
Interesting new tv spot by iconic British chocolate bar maker Cadbury Flake, which airs tonight in the UK. Produced by an outfit called Fallon, according to Creative Review the clip was directed by Baillie Walsh and features Russian model Yulia Lobova, who is suspended mid-air dressed in a flowing yellow dress that was fashioned from 200 metres of fabric. The dress was designed by British couturier Antony Price, who just told vogue.co.uk that "The idea came from looking at the edges of the Flake bar and the look of a Portuguese man of war jelly fish... It took a while playing around with the frills of the dress to make it look like Flake bar edges. I do think this form of pleating is very directional - it may well creep into my next collection." Frockwriter can't help thinking that there may have been another source of inspiration for the concept - one a little closer to home for Flake and Price than Portugal.
Below is a video of the finale of the Widows of Culloden Fall/Winter 2006/2007 show of the late, great British designer Alexander McQueen, who took his own life in February.
Staged in Paris in March 2006, the show concluded with a spectacular, ghostly illusion of Kate Moss that was projected inside a giant glass pyramid in the centre of the stage. Wearing a diaphanous ballgown - that is not too dissimilar to the Price/Flake version - Moss appeared to float in the air inside the structure.
Although dubbed a life-sized "hologram" by many, McQueen's longtime show producer Simon Kenny later told me that it was in fact a Victorian era parlour trick called Pepper’s Ghost. UPDATE 09/06/10 at 3.25pm: Creative Reviewupdated its story overnight to point out that the Flake ad director Baillie Walsh in fact also directed the clip of Kate Moss for McQueen's show in 2006. "I'm not sure how Walsh can be 'stealing' his own work" notes CR editor Patrick Burgoyne, responding to comments that the Flake clip is a ripoff of McQueen's 2006 catwalk stunt (comments that were posted after frockwriter's post FYI). On closer inspection, however, the McQueen illusion was created with the assistance of several production houses, including not only Simon Kenny's Souvenir Scenic Studios, but also Glassworks and Gainsbury and Whiting. But who actually came up with the idea? UPDATE 14/06: Evidently McQueen's company believes he did. The company is now considering legal action against Cadbury.
Alexander McQueen might be gone, but we still have a a couple of showmen/women left, Viktor Horsting and Rolf Snoeren at the top of the list. The Dutch duo is renowned for the theatricality of its shows (which frequently upstage the actual collections). Some experiments have gone wrong – a case in point the Fall Winter 2007/2008 show from three years ago, in which models were forced to walk the runway in bizarre metal light rig harnesses. Noone ate the catwalk and just as well, as they could have seriously injured themselves. The duo was subsequently widely accused of misogyny (a common criticism of McQueen). Here is the post I did from that show from Paris for smh.com.au. No such criticism of Saturday’s show, which is being billed as one of the best of the season, if not the best.
The collection, called ‘Glamour Factory’, was set against a monchromatic backdrop painted with graphics of industrial cogs.
The predominantly black and grey collection would most likely have passed largely unnoticed had it not been for the clever staging, which starred 43 year-old American model Kristen McMenamy in her second runway outing this season, after Calvin Klein's show in New York three weeks ago.
McMenamy wore 23 looks. All at once.
Piled, Russian doll-like, under layers of coats and dresses, she walked to a rotating disc in the middle of the runway and stood there like a store mannequin, while the designers peeled off the layers right down to a nude-coloured corset.
As the duo undressed McMenamy, they dressed each of the remainder of the model cast – every last one of them, as per usual, young enough to be McMenamy's daughter - in her discarded clothes. Think Jamie Lee Curtis and Lindsay Lohan in Freaky Friday, just swapping sporty fur-lined anoraks, tweed boyfriend jackets and bodysuits, satin smoking jackets and LBDs, instead of minds.
By all accounts, McMenamy was re-dressed in the garments as the models returned from their turns on the runway.
The climax was delivered by way of a giant panniered skirt which was inverted and transformed on McMenamy via a drawstring, to a cape with a behemoth Elizabethan collar.
You had to be there obviously. But for everyone who wasn’t, the above video gives a taste. Here is the entire collection in photos.
Needless to say, no backstage dressers were required.
