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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

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

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