Capsule, the fashion and lifestyle trade event that fuses the best high-end contemporary brands, and directional independent designers returns to Paris March 1-3, 2013. The AW13 show will feature the collections of a carefully curated assembly of the world’s most sought-after designers, reflecting the look of the new consumer.
Newcomers to Paris include British heritage outerwear maker Gloverall; German leather goods crafters A Kind of Guise; Brooklyn-based accessories and sportswear designer, In God We Trust; funky-modern British label Hokum-Hokum; the playfully feminine Hungarian label Nanushka, and the celebrated Japanese designer OHTA, to name a few.
Capsule Paris will take place March 1-3 at Cite de la Mode, 34, Quai d’Austerlitz 75013.
Show hours are 10am-7pm March 1-2 and 10am -6pm on March 3.
TOTEM is an independant Press Agency in Paris, France; it defines and implements image and communication strategies for institutions and brands. TOTEM thinks out and organizes events, press trips, runway shows, fashion presentations, art exhibitions, and jurys for competitions. TOTEM handles menswear, womenswear and accessories collections for the press, unfolds a variety of actions to promote and ensure a targeted image in the media. TOTEM is developing on bringing a 360° angle of the fashion designers and fashion brands by using its network and its resources (traditional media and digital).
In line with his previous collections, Tatsuro Horikawa designed for Julius a collection inspired by the darkness. A bit aggressive and rough the collection remains positively energetic. The collection is very subtle with high attention to the details and the materials used. The work on the 100% black garments sublimes pieces of wool, leather and jersey. Asymmetrical or oversized, the outfits may easily remind the previous collections but it doesn’t really matter as the design and the work get cleaner, at the same time more elaborated and concise.
After seven seasons and shows under his name, Julien Fournié densifies his designs, following the same route an Asian calligrapher takes, aiming to reach the essence. Under the influence of his retrospective shows held in fall 2012, in Stockholm and Singapore, the young couturier has developped a new conscience of his style genes and underlines them in this collection dominated by black, white and silver grey.
Kinesic stripes on satin pieces, patterns of jacquard in lurex, computer integrated circuitry reproduced in fine lace, and tailsuit jackets with zippers accentuate the hypergraphic aspect, nodding at both futurism and japonisme.
Nude organza or leather are embellished with bakelite or with hand-painted motifs of molecules. A few touches of bright color only glitter on origami pants in pink changing to copper, and on the train of an evening gown in night blue shining with purple. Shirts and blouses in dense, white, immaculate triple organza display a new curvy sleeve, elegantly folded and finished with a collar cuff. Point d’esprit tulle plays on straight transparency, swakara fur is inlaid in suits and dresses alike, building up the couture signature with clear respect for Claude Montana and Gianfranco Ferré.
The final dress, made with the legendary Parisian embroiderer Lesage, bristles with black rhodoid and metal, ruffling as the body moves.
The typical curve in the heels of the Walter Steiger stilettos and sandals matches the winding silhouette of a delicate femme fatale.
The spring/summer collection presented by Clarisse Hieraix draws its inspiration from the courting display.
This idyll is expressed by the emphasis of the sensualism and the feminine elegance thanks to soft, noble and vaporous fabrics such as guipure. Fabrics are elaborated with lots of delicacy in order to resculpt the hips.
The women’s bodies are celebrated thanks to recurring transparency effects which revealed the feminine curves. The necklines are cut with finesse and precision with the aim of the feminine bust sublimation.
Clarisse Hieraix is once again demonstrating her desire to introduce an elegant, sensual and refined woman through strong colors like red, black, white and anise green or oppositions between short and long dresses or structured and fluid garments.
This “Birds of Eden” collection was another love letter from Turkish-born Serkan Cura to the noble craft of feather making. There was a variety of flamboyant shoulder pieces on top of skimpy corset dresses in see-through fabrics. A XXL flower hairpiece descending all the way down to the sleeves was even more sculptural, while delicately woven feather blazers had a contemporary feel. Among the finale numbers was a creamy feather tutu worthy of a 21st-century production of “Swan Lake.” (WWD.com)
Subversive, unexpected and festive, the Walter Van Beirendonck Fashion Shows are always full of surprises. The Fall-Winter 2013/2014 collection was full with colors and fantasy. On the catwalk, the models were walking in shiny spangled blazer. But not only were the outfits shining as the faces of the models were also decorated of glittering jewelries over the mouth and ears. The range of second-skin leather pants or leather shirts on the chest had brought to perfection the outfits, a bit David Bowie inspired.
Halfway between East and West, the Fall-Winter 2013/14 Songzio collection unveiled an audacious combination of both styles. Many of the shirts became collarless and the jackets mainly reflect the rigor and the straight cuts of Asian style. Thick leather suits had been presented along with baggy pants and thin jackets.
Well-known for his unconventional shows, the German designer Bernhard Willhelm surprised once again the audience by presenting his Autumn/Winter 2013-2014 collection in Le Carroussel du Louvre. Looking more like an artistic performance than a fashion show, the models were interacting and playing like animals all around the scene that surprisingly had no catwalk. Original and colorful, every outfit seemed alive and spread positive energy.
Called “Reversing”, the Fall-Winter 2013/2014 Juun.J collection was a presentation of how contradictions can create a “contrasting beauty”. First, the South Korean designer had literally turned out the insides of the clothes. The pockets were put visibly and the sleeves of the coats were made of different texture as if they had been deconstructed and reversed inside out. Playing between retro and futurism, the contradiction also came from the way the designer styled the outfits. Bomber jackets from the 1950s were presented alongside hybrid and original streetwear. The size was another opportunity to express this contradiction as bulky coats or oversized sweatshirts and blousons had been associated with skinny pants. No matter how, the designer tried to create the most contrasting silhouettes also source of beauty.