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| Olivier Theyskens |
OT
When looking through the book 'Skin and Bones', a book linking fashion and architecture, I came across Olivier Theyskens, and a beautiful dress he created for the House of Rochas. It caught my eye because of its focus on structure - it reminded me of a few things: bone structure, architectural structures and old fashioned lingerie. The use of the bold white lines are very much like the bones in corsets, and could represent human bones. I think that Theyskens has looked closely at the basic shapes that make up the models torso, and I think it looks very precise - he has almost straightened out some of the curves into simpler contours.
When looking through the book 'Skin and Bones', a book linking fashion and architecture, I came across Olivier Theyskens, and a beautiful dress he created for the House of Rochas. It caught my eye because of its focus on structure - it reminded me of a few things: bone structure, architectural structures and old fashioned lingerie. The use of the bold white lines are very much like the bones in corsets, and could represent human bones. I think that Theyskens has looked closely at the basic shapes that make up the models torso, and I think it looks very precise - he has almost straightened out some of the curves into simpler contours.
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| Theyskens |
Also, I think the use of just white fabric works really well, and gives the dress a very basic, new, pure feel. It also adds to how it is reminiscent of underwear, in that it is plain and not embellished.
It also made me think of a dress by Isabel Toledo - made up with triangular panels and simple shapes and lines based on the human figure - both are absolutely beautiful, but I think Toledo's looks softer and more feminine - perhaps because the fabric is thicker, which smooths out the rigid contours and hard edges.
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| Toledo |
MM
I am interested in Martin Margiela for his theme of deconstruction. I came across this belgian designer in the 'Skin and Bones' book also. In the 1980's, he rebelled against the new luxury fashions, with other belgian designers and their concept of deconstruction - seams, hems, linings and shoulder pads were shown on the outside of the garments he created, and gloves and belts were used and recycled into new garments. This is how I think he and Theyskens are similar in concept; they both turn things inside out - Theyskens by putting skeletal like structures on the outside, and Margiela by litterally creating the garment inside out. Although, they differ in that Theysken's creations are crisp and well finished, whereas Margeila's rough seams and dark colours have a more raw feel.
