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August 28th     2:37 pm

Martine Sitbon

Martine Sitbon

August 28th     12:23 pm


Artworks and Sculptural FormFreddie Robins, Fourway, 1997. One of Robin’s earliest mutant sweaters, Fourway has four sleeves even spaced around the body. In all Robins’ knit works, the plausibility of the familiar knitwear construction at first takes in the viewer, who then begins to question the image portrayed. In the same series are Noway, a sweater with completely enclosed head, and Headcase, two sweaters umbilically joined together. Humour and fear of deformity merge in the work.

http://www.freddierobins.com/

Knitwear in Fashion by Sandy Black

Artworks and Sculptural Form
Freddie Robins, Fourway, 1997. One of Robin’s earliest mutant sweaters, Fourway has four sleeves even spaced around the body. In all Robins’ knit works, the plausibility of the familiar knitwear construction at first takes in the viewer, who then begins to question the image portrayed. In the same series are Noway, a sweater with completely enclosed head, and Headcase, two sweaters umbilically joined together. Humour and fear of deformity merge in the work.

http://www.freddierobins.com/

Knitwear in Fashion by Sandy Black

August 28th     12:09 pm


The Seamless RevolutionA-POC Alien, autumn/winter 1999–2000. Alien is possibly the most complex design to visualise. It contains the body in double layers of mesh fabric – dress over trousers, and face initially masked. In the fashion show presentation, two assistants cut away and opened up the fabric into a more wearable form, and the model emerged.

Knitwear in Fashion by Sandy Black

The Seamless Revolution
A-POC Alien, autumn/winter 1999–2000. Alien is possibly the most complex design to visualise. It contains the body in double layers of mesh fabric – dress over trousers, and face initially masked. In the fashion show presentation, two assistants cut away and opened up the fabric into a more wearable form, and the model emerged.

Knitwear in Fashion by Sandy Black

August 28th     11:55 am


Radical KnitwearMartin Margiela, spring/summer 2001. A collection in which oversized menswear was worn by women. All the garments were enlarged to an Italian size 78. Woven pieces were folded and stitched back to fit a standard size, whilst knitwear was crumpled and moulded to shape. Here a classic man’s cardigan is worn with trousers which are the same back and front. The model’s eyes were again obscured creating anonymity and drawing attention to the clothes.

Knitwear in Fashion by Sandy Black

Radical Knitwear
Martin Margiela, spring/summer 2001. A collection in which oversized menswear was worn by women. All the garments were enlarged to an Italian size 78. Woven pieces were folded and stitched back to fit a standard size, whilst knitwear was crumpled and moulded to shape. Here a classic man’s cardigan is worn with trousers which are the same back and front. The model’s eyes were again obscured creating anonymity and drawing attention to the clothes.

Knitwear in Fashion by Sandy Black

August 28th     11:20 am


The Seamless RevolutionA-POC Le Feu, spring/summer 1999. The A-POC concept was at first shown as part of the Miyake fashion show presentations, before becoming a collection in its own right. This dramatic display demonstrated the revolutionary concept by a series of models wearing a t-shirt and skirt, based on a square shape, each one connected to the next.

Knitwear in Fashion by Sandy Black

The Seamless Revolution
A-POC Le Feu, spring/summer 1999. The A-POC concept was at first shown as part of the Miyake fashion show presentations, before becoming a collection in its own right. This dramatic display demonstrated the revolutionary concept by a series of models wearing a t-shirt and skirt, based on a square shape, each one connected to the next.

Knitwear in Fashion by Sandy Black

August 28th     11:08 am


Radical KnitwearHussein Chalayan, Between collection, spring/summer 1998. Bound arms recur as a motif in the collections, indicating restriction, and are sympathetic to the static, meditative style of presentation favoured by Chalayan. Jersey fabrics are either used to bind or are cut away in large sections, as in the printed jersey dresses of winter 1998, with side cut out in oval shapes. In this ‘Cocoon’ dress, an amusing concession to practicality is made in the in-built mittens, reminiscent of a space suit.

Knitwear in Fashion by Sandy Black

Radical Knitwear
Hussein Chalayan, Between collection, spring/summer 1998. Bound arms recur as a motif in the collections, indicating restriction, and are sympathetic to the static, meditative style of presentation favoured by Chalayan. Jersey fabrics are either used to bind or are cut away in large sections, as in the printed jersey dresses of winter 1998, with side cut out in oval shapes. In this ‘Cocoon’ dress, an amusing concession to practicality is made in the in-built mittens, reminiscent of a space suit.

Knitwear in Fashion by Sandy Black

August 28th     11:02 am

The rare sighting of Girardi.

August 28th     10:59 am


Radical KnitwearMartin Margiela, autumn/winter 1999–2000. Wrapped shetland woollen dress made from two pieces of knitted fabric, one shaped. This concept reflects the simplest form of body-covering used from ancient times. The pieces are knitted ‘garment blanks’ with a traditional rib for the welt, but used in a direct manner instead of being cut and sewn into a classic shape. Margiela interrupts the knitwear production process at a very early stage.

Knitwear in Fashion by Sandy Black

Radical Knitwear
Martin Margiela, autumn/winter 1999–2000. Wrapped shetland woollen dress made from two pieces of knitted fabric, one shaped. This concept reflects the simplest form of body-covering used from ancient times. The pieces are knitted ‘garment blanks’ with a traditional rib for the welt, but used in a direct manner instead of being cut and sewn into a classic shape. Margiela interrupts the knitwear production process at a very early stage.

Knitwear in Fashion by Sandy Black

August 28th     10:52 am


Radical KnitwearHussein Chalayan, Echoform collection, autumn/winter 1999–2000. Chalayan developed ranges of knitwear in the late 1990s (with the assistance of Winni Lok) which have become a permanent feature of the catwalk. At first glance, the knitwear appears very traditional, but often there is a twist. An extreme example is this fully fashioned wool/cashmere dress which from the front appears straightforward, but is in fact backless, with an integrated skirt.

Knitwear in Fashion by Sandy Black

Radical Knitwear
Hussein Chalayan, Echoform collection, autumn/winter 1999–2000. Chalayan developed ranges of knitwear in the late 1990s (with the assistance of Winni Lok) which have become a permanent feature of the catwalk. At first glance, the knitwear appears very traditional, but often there is a twist. An extreme example is this fully fashioned wool/cashmere dress which from the front appears straightforward, but is in fact backless, with an integrated skirt.

Knitwear in Fashion by Sandy Black

August 25th     11:44 pm

997: do you still have all the belgian fashion design scans saved? i have it physically but it breaks my heart t use it and i would die if i had to scan it etc... could you upload somewhere online for me/us? you're the only person i saw with scans from it and i adore your blog since 2010

Here you go! And thanks for the encouraging words. I think dekonstruktivisme is brilliant with Belgian fashion scans too.

August 7th     10:18 am

Grace Coddington by Mario Testino for Vanity Fair September 2014

Grace Coddington by Mario Testino for Vanity Fair September 2014

August 6th     11:26 am

Shoutout to the Martin Margiela exaggerated shoulders garment that cannot be cleaned in any way whatsoever.

August 2nd     10:52 am

Phoebe Philo, Stella McCartney’s petite copine, The Face, February 1998

Phoebe Philo, Stella McCartney’s petite copine, The Face, February 1998

July 27th     12:54 pm

Saskia van Drimmelen

Saskia van Drimmelen

s.t.