Ann-Sofie Back Autumn/Winter 2007

Ann-Sofie Back, AW 2007

Ann-Sofie Back showed an interesting collection employing scotch tape, plastic, and fastening mechanisms (normally associated with cheap luggage and backpacks) to underscore “a sketchy, spontaneous look,” what Back describes as “two minute garments.” Some of the looks, particularly the see-through plastic garments held together with scotch tape are reminiscent of Margiela’s early 1990s work. While others materials, such as neoprene and velcro, what Back refers to as “faux functional,” seem to pervert the late 90s early 00s functional aesthetic and its penchant for high-tech fabric. A subversion of these themes is further highlighted by the fact that most of the pieces, despite being made of “high-tech” or “faux high-tech” material (which one generally relates with “technical sportswear”) often hang awkwardly on the body, most of which remains exposed thanks to mini-skirts and short dresses. At times, particularly with the looks, in which heavy wool or down are “sketchily” and precariously wrapped around the body, one can’t help but picking up a reference (intentional or not) to the ways these fabrics are down-cycled and used by homeless people to shield themselves from the cold—a sight which is certainly more common in New York than in London.

Ultimately, these references coexist with a number of body-hugging silhouettes, where wide elastic straps wrap around the body rather tightly to create dresses and skirts. What is perhaps most interesting about the collection is that while the London runways abound with 1980s reference—a rather tired look at this point—Back seems to be revisiting and commenting on 1990s fashion—hopefully a sign for things to come!

Francesca Granata

Peter Jensen and Emma Cook Autumn/Winter 2007

Peter Jensen AW2007. Photo: Marcio Madeira (from style.com)

(Yesterday morning, I took some time off my teaching schedule to attend a couple of London shows...Below are my findings!)

Emma Cook produced a film installation “Screen Test Suzie” in lieu of a traditional fashion show, where the model’s jerky movement reminded one of stop motion animation. In its refreshing simplicity and offbeat tempo, It looked a bit like a student’s animation short or an early film shown at the wrong speed…The model jumped around in quite a cute manner and some of the clothes-particularly the 20s-looking cloches, the wide pants and the Charleston-like dresses (some of which in feathers) gave the film a rather chaplinesque character.

Peter Jensen’s presentation was also humorous in a subtle way.One of the model wore a paper crown—which read as a reference to the Emperor’s new clothes. (Most likely it had to do with the show’s inspiration—a northern Renaissance princess, Christina of Denmark.) There were jackets, skirts, trenches, and dresses made of rubberized black and dark green nylon—the latter were gathered in front rendering a voluminous silhouette reminiscent of bygone eras. A “rubber” trench was placed on top of a an ensemble whose grey fabric made of interlocking rings was reminiscent of chainmail, thus juxtaposing a medieval reference to a rather “futuristic” fabric and giving the impression of a contemporary Joan of Arc of sorts. Another futuristic reference was hinted at by a hooded sweater from which little “prosthetic” horns peeked out. Ultimately, these disparate elements were well integrated and made for subtly funny and pretty garments.

Francesca Granata