Fall 1997, Helmut Lang
Fall 2001, Helmut Lang
Fall 2003, Helmut Lang
Surf wetsuit v-strap skeleton, Spring 2003, Helmut Lang
Surf wetsuit skeleton, Spring 2003, Helmut Lang
Silk bound dress, Spring 2001, Helmut Lang
Black vinyl and leather belt, Spring 2001, Helmut Lang
Best in Show, April 2002
Delfine Balfort and Michael Thompson for Vogue Australia
Finest cotton arm bag since 1997, Helmut Lang
Optical frames and sunglasses, Helmut Lang, 1999
Cult of Personality: Helmut Lang, Vogue US January 1997
Cotton t-shirt with yellow rubber trim, $90, cotton tank with yellow rubber trim, $80 both, Helmut Lang. Denim hipster pants, Helmut Lang Jeans, $150
Gilles Bensimon for Elle Us, March 1997
Black cashmere sweater; black leather pants; black leather waist belt with pouch. Gift of Helmut Lang.
A minimal set in black. The sweater’s collar is like a travelling pillow, and the sleeves are divided into upper and lower sections, only partly sewn together. The pants have fasteners sewn in on the fronts of the legs, with tapes above the knees. This clearly shows the tendency in Helmut Lang’s designs to create clothes part by part and then join them together; a tendency that became even more distinct in later collections.
Lang comes from Austria, and presented his first Paris collection in 1986. At the time, he stressed a banality that contrasted with the excessiveness of avant-garde fashion, and accepted reality of the body rather than seeking an ideal body. By fusing the radical and the universal, Lang became one of the drivers of 1990s fashion. In 2002, he made tape clothes such as a part or a fragment of jackets and vests, that could be interpreted either as pieces of clothes or as accessories. Rather than clothes, it was almost as if he were presenting soon-to-disappear fragments or vestiges of clothes, draped on the wearers’ bodies.
Helmut Lang, Séance de Travail Winter 1999
Denim Jacket with extra long sleeves, Helmut Lang Jeans
Nothing But Shoes, Yasmin Warsame by Gabor Jurina for Fashion (CA), 2003