Diesel Black Gold © Copyright 2015
Juxtaposition. A new aesthetic sensibility emerges from the combination of contrasting elements incorporated under the fearless, assertive aesthetic of Diesel Black Gold.
For the brand’s Fall/Winter 2015 collection, creative director Andreas Melbostad portrayed a powerful, confident woman, who feels free to unveil her feminine side in a bold and courageous manner.
Putting the accent on her innate duality, strong utilitarian references are incorporated into a range of leather pieces and exalted by the use of metal hardware juxtaposed to delicate, soft lingerie influences in her diverse wardrobe.
Creating an intriguing game of seduction, a camisole is built into a fluid crepe cadi dress which, constructed with floating panels held together by industrial metal details, reveal a slip dress trimmed with lace.
Layering is key in the definition of each piece. Sweaters, showing off chunky ribbed patterns , feature side-slits, cropped cuts and low necklines allowing lace camisoles and crepe de Chine slip dresses to peek out for a sexy, confident mood.
Creating a contrast with the lean silhouettes of skirts and dresses, Melbostad upped the volume in outerwear, focusing on shoulders. Super squared or hyper rounded, these echo an Eighties’ feel in oversized wool felt blazers, merino shearling jackets and Herringbone coats.
The same mood informs the tailored power suits, showing boxy jackets worn over ribbed knits and matched with wool skirts and trousers. Their geometric and sharp shapes emphasize the collection’s resolutely confident attitude.
Exploring new feminine territories, the five pocket jeans are worked in denim brocade and damask jacquard motifs with deep hues of indigo blue and black, combined with contrasting pops of color when feeling bold and daring.
Graphic shapes give a strong attitude to accessories. Beauty bucket case-inspired bag squared double straped and top handle bags, worked in leather or suede, are embellished with studs and metallic discs. These appear as decorative elements on leather belts, which also come in webbing and leather versions wrapped around the torso for a utilitarian look.
Blending together different, contrasting forces, the collection blurs out a fine line of strength and fragility, toughness and delicacy, conjuring up a very singular and unique look for the woman of today.
Horror vacui vs modernism. Heritage vs techy. the billowing bourgeoisie vs the restrained rectilinear. For Autumn/Winter 2015 Katrantzou observes the inverse relationship between the horror vacui art movement and reactionary modernism. An exploration of the relationship between heritage opulence and techy utopia, the collection seeks to redefine the parameters of modern luxury and documents the significance of value perception.
From the victorian grandiose, a maximalist demonstration of wealth and social stature through heady excess, to the contemporary pursuit for minimalist luxury – stealth wealth. The collection juxtaposes both paradigms, capturing the filtered beauty within each. The linear contrasts with the sinuous; the modernist restraint is in dialogue with the floridly embellished and kenophobia is observed through a purist lens.
The victorian parlour found a parallel on the back of the victorian woman. decadence and decoration moved to the body of the female: a walking embodiment of social stature. Katrantzou references this through flounced, ruffled silhouettes, embracing the body tightly, kicking to fullness below the knee, with the bygone elegance of a belle epoque grandee. Garment surfaces are crowded with detail and texture. The contrast to the nineteenth century bourgeoisie? tubular echoes of a modernist aesthetic, emulated in strict rectilinear shapes and abbreviated hemlines. Silhouette is simplified, a stark contrast to the heritage verbose. Seamless moulded tailoring breathes life into the utopian concept of the ideal female form, with Katrantzou looking to automotive textile technology to create seamless sculptural forms without stitching.
Perceptions are inverted. Flared skirt panels are realised through tucks, ties and wadded hem channels. Hand-folded pvc strips create tubular volume; slim plasticised strands are embroidered onto traditional damasks adding depth and dimension. Flocked tulle and intarsia mink cut in purist lines offset with swarovski crystal and macro sequin geo embroidery. Patterns are drawn from heritage fabrics. classic damasks, rose prints and paisleys intertwined with techy organza pleats, plasticized ruffle bands and graphic foam applique.
This collection challenges and explores our notions of status, value and plain good taste.
In dedication to our mother, Christine Kane
“Everything I do essentially comes from drawing; it ultimately reflects how I feel,” says Christopher Kane. “I wanted a feeling of attraction and sensuality in the collection, something sexual but not grotesque – this is about love and art in life as well as fashion. We had a series of life drawing classes in the studio, with everybody in the team involved. It is all of our sketches combined that makes the ‘lovers lace’. It reflects that sense of togetherness; of male and female in an almost molecular and mechanical attraction, as well as a more classical sensuality –both feelings that I wanted to come across this season.”
The pull of attraction and the power of seduction infuse the current Christopher Kane collection. Opposites attract and sensuality is expressed both literally and metaphorically throughout –a combination of masculine and feminine, hard and soft, romantic and real. Altogether for Autumn-Winter, there is a notion of the desirability of desire.
Here, sumptuous fabrics in a rich ‘night-life’ colour palette form a foundation for experiments in silhouette and decoration, encouraging a notion of touching as well as looking this season. Unlikely combinations abound; high-shine chainmail is inset with stylised floral Swiss lace, tulle is printed with life-drawn figures in glitter, an ‘electric orgasm’ current is reflected in velvet flock while cascading forms elegantly fall apart and reveal flesh in a two tone ‘tonic velvet’. These experiments reach a form of consummation in the life-drawn ‘lovers lace’; figural drawings silhouetted in Swiss lace, entwine, build and in turn form themselves into new silhouettes, this time of clothing.
An element of the sensual is frequently played out against the scientific this season in a notion of molecular attraction. Accessories and fastenings are frequently ‘chromed’ and act as rounded protection on box calf bags and shoes as well as desirable decoration. Some are sexually slotted into place –like the signature safety buckle, that is a leitmotif throughout the collection and extends itself from fastenings to jewellery this season. While others simply feature as a reflecting, mirrored surface, seen in many of the leather treatments that abound for bags and shoes.
On February 20th 2015, Christopher and Tammy Kane’s beloved mother, Christine Kane, passed away after a sudden illness. In the light of such overwhelming and upsetting news, there will not be any access backstage today for greetings and interviews with Christopher Kane. The designer thanks everyone for their kindness, support and patience at this time. Thank you.