c o t o n b l a n c.     archive     ask     rss
re-index     a view on point     mail     la collectionneuse.     王菲    

September 2nd     4:21 pm

Off-shoulder cropped tank, Helmut Lang, ca. 2001

August 30th     8:37 am


Radical KnitwearBernhard Willhelm, spring/summer 2001. Faux-naïve pictorial knitwear created using jacquard technique, enhanced by embroidery. Pictorial sweater designs were also shown for men. The innovative catalogue for the season placed the models in domestic interiors, some performing chores. Original presentation and storytelling are continuing features of Willhelm’s work.

Knitwear in Fashion by Sandy Black

Radical Knitwear
Bernhard Willhelm, spring/summer 2001. Faux-naïve pictorial knitwear created using jacquard technique, enhanced by embroidery. Pictorial sweater designs were also shown for men. The innovative catalogue for the season placed the models in domestic interiors, some performing chores. Original presentation and storytelling are continuing features of Willhelm’s work.

Knitwear in Fashion by Sandy Black

August 29th     12:16 pm


The Seamless RevolutionCaterina Radvan, 1998. Starting with geometric shapes applied to the body, Radvan has focused on creating seamless knitted garments to develop the unique potential of knitted construction. This seamless dress, made as part of her Masters graduate collection, is knitted in a giant blister stitch on a circular machine in a combination of lambswool and nylon monofilament, then washed to shrink and felt the wool, leaving a ruched layer of nylon attached loosely to the surface. 

Knitwear in Fashion by Sandy Black

The Seamless Revolution
Caterina Radvan, 1998. Starting with geometric shapes applied to the body, Radvan has focused on creating seamless knitted garments to develop the unique potential of knitted construction. This seamless dress, made as part of her Masters graduate collection, is knitted in a giant blister stitch on a circular machine in a combination of lambswool and nylon monofilament, then washed to shrink and felt the wool, leaving a ruched layer of nylon attached loosely to the surface. 

Knitwear in Fashion by Sandy Black

August 29th     12:01 pm


Radical KnitwearYohji Yamamoto, autumn/winter 1998–1999. In contrast to McQueen, the simplicity of hand-knitting and the basic construction of Yamamoto’s pieces conjured a romantic innocence and naïveté, as the models hugged the comforting knitting around themselves. The shapes of the coat and dress are simple rectangles, the edges left to curl. The accompanying advertising campaign showed the clothes in strange, magical settings in the forest in full moonlight. 

Knitwear in Fashion by Sandy Black

Radical Knitwear
Yohji Yamamoto, autumn/winter 1998–1999. In contrast to McQueen, the simplicity of hand-knitting and the basic construction of Yamamoto’s pieces conjured a romantic innocence and naïveté, as the models hugged the comforting knitting around themselves. The shapes of the coat and dress are simple rectangles, the edges left to curl. The accompanying advertising campaign showed the clothes in strange, magical settings in the forest in full moonlight. 

Knitwear in Fashion by Sandy Black

August 29th     12:00 pm

Junya Watanabe by Chikashi Suzuki for Dune Magazine, #20 (2000)

August 29th     11:53 am

If it’s on tFS, it’s probably on Tumblr too.

August 29th     11:49 am

Junya Watanabe MAN, Spring/Summer 2002

Junya Watanabe MAN, Spring/Summer 2002

August 29th     11:45 am


The Seamless RevolutionTestu, sleeveless top, illustrating the distorted shape used in the knitwear.

Knitwear in Fashion by Sandy Black

The Seamless Revolution
Testu, sleeveless top, illustrating the distorted shape used in the knitwear.

Knitwear in Fashion by Sandy Black

August 29th     11:10 am


Radical KnitwearMartin Margiela, autumn/winter 1994–1995 and spring/summer 1999. Cardigan based on Barbie doll’s wardrobe, with authentic ‘details and disproportions reproduced in the enlargement’ as stated on the label. Margiela returns increasingly to the theme of scale and sizing, as in his 2000 and 2001 collections produced in a notional size 78.

Knitwear in Fashion by Sandy Black

Radical Knitwear
Martin Margiela, autumn/winter 1994–1995 and spring/summer 1999. Cardigan based on Barbie doll’s wardrobe, with authentic ‘details and disproportions reproduced in the enlargement’ as stated on the label. Margiela returns increasingly to the theme of scale and sizing, as in his 2000 and 2001 collections produced in a notional size 78.

Knitwear in Fashion by Sandy Black

August 29th     10:03 am


Materials, Structures and ProcessesMartin Margiela, spring/summer 1996. This collection consisted of photographs of garments – a sequinned evening dress, a man’s overcoat, tweed skirts, print dresses, heavy woollen sweaters – overprinted in grey and sepia tones, evoking old photographs, onto white, fluid fabrics in viscose and cotton, then made into simple shapes. Knitted fabric again proves to particularly successful as a print. The anonymity of the veiled face adds to contradictory visual impact.

Knitwear in Fashion by Sandy Black

Materials, Structures and Processes
Martin Margiela, spring/summer 1996. This collection consisted of photographs of garments – a sequinned evening dress, a man’s overcoat, tweed skirts, print dresses, heavy woollen sweaters – overprinted in grey and sepia tones, evoking old photographs, onto white, fluid fabrics in viscose and cotton, then made into simple shapes. Knitted fabric again proves to particularly successful as a print. The anonymity of the veiled face adds to contradictory visual impact.

Knitwear in Fashion by Sandy Black

August 29th     9:40 am


Radical KnitwearJunya Watanabe, autumn/winter 1998–1999. Watanabe’s radical approach to clothes is demonstrated in this sweat from a collection of caged clothes. The knitted fabric has been roughly cut and shaped into a sweater and given structure by the wire cage which is threaded through the fabric to encase the body. For Watanabe, knitwear is usually complementary to the main collection, concentrating on simple, chunky cardigans and sweaters in the colour palette of the season.

Knitwear in Fashion by Sandy Black

Radical Knitwear
Junya Watanabe, autumn/winter 1998–1999. Watanabe’s radical approach to clothes is demonstrated in this sweat from a collection of caged clothes. The knitted fabric has been roughly cut and shaped into a sweater and given structure by the wire cage which is threaded through the fabric to encase the body. For Watanabe, knitwear is usually complementary to the main collection, concentrating on simple, chunky cardigans and sweaters in the colour palette of the season.

Knitwear in Fashion by Sandy Black

August 29th     12:10 am


Radical KnitwearYohji Yamamoto, autumn/winter 1996–1997. Layers of woollen knitting worn under a ribbed outer garment, the single-bed knitting of the underlayers left unfinished and curled, in contrast to the ribbed outer layer which does not curl. Multiple-layered clothing was common at this time but may now appear cumbersome. Relaxed long cardigans replaced the structured jacket as acceptable outerwear.

Knitwear in Fashion by Sandy Black

Radical Knitwear
Yohji Yamamoto, autumn/winter 1996–1997. Layers of woollen knitting worn under a ribbed outer garment, the single-bed knitting of the underlayers left unfinished and curled, in contrast to the ribbed outer layer which does not curl. Multiple-layered clothing was common at this time but may now appear cumbersome. Relaxed long cardigans replaced the structured jacket as acceptable outerwear.

Knitwear in Fashion by Sandy Black

August 28th     10:46 pm


Radical KnitwearHussein Chalayan, Scent of Tempest collection, autumn/winter 1997–1998. Chalayan’s somewhat provocative commentary on the contradiction between Islamic women’s dress and modern society was shown a year later in a collection featuring models dressed only in diminishing versions of the chador. This sweater with a slit mask was a forerunner, and created some controversy itself.

Knitwear in Fashion by Sandy Black

Radical Knitwear
Hussein Chalayan, Scent of Tempest collection, autumn/winter 1997–1998. Chalayan’s somewhat provocative commentary on the contradiction between Islamic women’s dress and modern society was shown a year later in a collection featuring models dressed only in diminishing versions of the chador. This sweater with a slit mask was a forerunner, and created some controversy itself.

Knitwear in Fashion by Sandy Black

August 28th     10:14 pm


Sterling silver and black enamel coated handcuff bracelets

Dragonfly, Helmut Lang Spring/Summer 2004

Sterling silver and black enamel coated handcuff bracelets

Dragonfly, Helmut Lang Spring/Summer 2004

August 28th     2:37 pm

Martine Sitbon

Martine Sitbon

s.t.