Rabu, 19 Juni 2013


Ruby Aldridge is classic cool in a moto and stripes.

This French editor subscribes to the Emmanuel Alt style of insouciance.

Joanna Hillman kicks off Fashion Week in color-blocked pajama pants paired with a simple white tee and moto jacket by J.Brand.

From cobalt to Yves Klein and midnight, bold blues were the hues of the month.

Polished blue on blue monochrome on Miroslava Duma looks chic.

A leather peplum lends edge to the feminine trend.

Bérénice Bejo is show-ready in a matching blue jacket and dress.

Here, a monochromatic story in blue.

A great knit needs little accoutrement.

It's all about Stella McCartney's expert mix of black, navy and white.

A jumpsuit gets the fun treatment in eye-catching cobalt.

Sabtu, 15 Juni 2013


Taylor Tomasi Hill balances sweet and spicy in a perfectly balanced ensemble

                        Kerry Pieri wears a Stella McCartney dress, B Brian Atwood shoes and Acne jacket

                                                       Plaid on plaid works with neutral hues.

Hedvig is officially fall-ready in an oversized moto jacket and shoes with sock combination

Always remember to wear a little shearling with a touch of rock-and-roll.

The flute skirt gets layered with denim and leather for a put-together effect

A black leather jacket looks luxe with wide-leg pants and a pretty blouse.

It's Celine dreams for this showgoer.

Anya Rubik's long moto jacket suggests what we had already suspected: the topper of choice for downtown hipsters and Hell's Angels alike has gone mainstream due to deft designer interpretations

A shearling moto is an autumn staple

Selasa, 11 Juni 2013


We can chronicle the runways at will, but it's the trends that emerge on the streets that inspire us in the personal style department. See what looks the ladies of fashion month embraced — from haute sweatshirts, to motos of every sort, blanc heels and heeding the call of the wild.

K is for kitschy on this red, white and blue moment.

A gilded Isabel Marant skirt is toned down for day with some sweatshirt dressing

This girl has a futuristic take on black and red
Tamu McPherson embraces the branded sweatshirt.

Printed, branded sweatshirts are a look of-the-moment.

The Kenzo sweatshirt is Fall's answer to the must-have knit
Hedvig of The Northern-Light blog showcases one of the top looks of Fashion Month — the high fashion sweatshirt. From Balenciaga to Kenzo and Givenchy, workout wear got a major revamp and girls were more than willing to prove their brand loyalty.

The Balenciaga sweatshirt is staging a world takeover.

Further proof of the takeover on Miroslava Duma.

Jumat, 07 Juni 2013

Indonesia Fashion Week 2013 : Auguste Soesastro

Ecological luxuries inspired by the imperial mystique of the thousand islands
 AugusteSoesastro studied fashion at the rigorous Ecolede la ChambreSyndicale de la Couture in Paris, alma mater of the great couturiers, Yves Saint Laurent and Valentino. He interned at some of the major Haute Couture houses in Paris and finally moved to New York to work for couturier Ralph Rucci, the first American to be granted Haute Couture status by the ChambreSyndicale de la Haute Couture. Shortly thereafter, he worked as a patternmaker for Tignino a New York couture sample house that produced patterns for Narcisco Rodriguez, Isaac Mizrahi, Calvin Klein Collection, etc. before launching his own line in New York City in 2008, KRATON.

 KRATON originates from the Javanese word for palace, a union of skilled artisans and labor of love. KRATON specializes in high-end luxury garments, crafted to perfection, incorporating superb tailoring techniques, unique designs and the best available materials, working together with only the best artisans in each of their specialized fields. KRATON’s collaborators are also those who participate in fair trade, legally obtained raw materials, ecologically responsible and cruelty free practices. Until September 2010, all garments were hand crafted in New York City.The Jakarta atelier opened in January 2011, and operates under the same standards of fair wage and environmentally conscious work ethics.

 Prior to fashion studies, Auguste obtained a bachelor degree in Film Animation / Digital Arts from the Australian National University and Architecture at the University of Sydney. During this period, he also worked as an arts curator and honorary staff at the Culture and Education department of the Indonesian Embassy in Canberra.
KRATON: from New York to Jakarta
 In June 2008, when I established KRATON in New York City it meant to be much more than a fashion brand. Taken from the Javanese word which means ‘palace’, KRATON serves as an ambassador brand to promote Indonesia’s heritage and culture in an international context. I believe, in Indonesia, there has been a huge misconception of what the name stands for. I did not choose such a name to promote Indonesian traditional batik or costumes. Italy, for example, has a history of Baroque art, yet Italian design today reflects nothing of its gilded past, what remains are,the same attention to craftsmanship and savoir faire of the trade.
 What is Indonesian design Today? 
 I believe fashion is a reflection of the times. I moved to Jakarta 26 months ago, having spent most of my life overseas. It is a constant struggle to survive in acity where anything goes and where rules are made to be broken. Oddly enough in the design field, people seem to be boxed in, toying with the stereotypical, blatantly plagiarizing, or simply re-creating an Indonesian version of something popular overseas.

First and foremost, one must understand what it means to be Indonesian in the global context, and what is happening in Indonesia at this very moment, environmentally and sociologically. Design should respond to these elements, in the most honest and realistic way possible. It is the only way we will have a future.
 There was a time when I questioned my raison d'être. With so many fashion labels and clothing companies, what right did I have to produce more consumer goods? The world does not need any more fashion. But then again, it would be such a dull place. The only way I could do this was, to do it the responsible way. For us, at KRATON, it is important to understand where our fabrics are sourced, how the raw materials are obtained, and whether the skilled labor is correctly compensated. From the first collection in New York, 2008, we have worked closely with responsible artisans such as LoroPiana, Gandini and Sfate&Combier.

The Jakarta atelier was opened in the beginning of 2011, with 3 staff members, including myself who worked also as a pattern maker. It has been a very long process of trial and error to get things organized, it is perhaps how things work in Jakarta. I hand picked each staff member for their unique abilities and re-trained them to work with my vocabulary. They are like my family members, and we make sure they are well looked after. It is working with people like these that give me hope that I have something to look forward to in this country.
KRATON prêt-à-porterde luxe
 In January of 2012, I first launched KROMO, an attempt to create a Ready to wear collection with a contemporary price point. This is where one realizes; the jump from meticulous couture to the mid-level is a world apart. I was mentally struggling to accept more industrial methods of finishing; machine overstitches, semi synthetic lining, machine buttonholes and other things which we do not even dare to think of in proper couture. Alas, to this day we have still managed without the aid of an over-locker, the mortal enemy of the couturier. These hidden elements therefore do not make business sense with our initial hope to create works at a medium price. With the help of our new European based business partner, we formulated KRATON ready to wear.
 KRATON ready to wear is our luxury / high end non-made-to-measure version of the couture line, a natural evolution, which combines the techniques and fabric sensibility of our existing couture line and the practicality of ready to wear. We are still dressing the same type of women; independent, intellectual, cultured, mentally mature beings with discerning taste. For me, this is a great exercise in restraint and letting go, to come to terms with reality and be more grounded. It is such a relief to step up the work once more, to a vocal range I am more familiar with.

 We are known for our deceptively simple aesthetics and unique construction; singular panel patterns, gusseted kimono sleeves, one seam bias gowns, silk lined trousers, and sunburst-pleated paneling. Fabrics are uniquely sourced, generally artisanal and hand woven natural fibers, usually un-dyed to expose their natural beauty.
 Handwork remains an essential part of our craft. Tailored suits and jackets are constructed in the same method as proper bespoke men’s tailoring, with horsehair interfacings and underpinnings. Double-faced fabrics* are hand split on edges and inside seams are fully hand stitched. ‘A client once told me, she wore a jacket inside out the entire day and did not notice until she took it off in the evening’. This I’m proud to say is a result of fine work, garments are as beautiful on the inside as they are on the outside.

Double faced or double cloth is a reversible fabric which can be separated into two pieces of cloth with completely different weaves, colors or patterns.

 Ready to Wear Collection Fall/Winter 2013-2014
 In the last 6 moths two of my cities have been immersed with water, Hurricane Sandy in New York and the recent floods in Jakarta. We can no longer deny the impact of modern civilization on the environment; this is our major concern at KRATON. Reduction means to use only the best available, no excess production and to take great care when making each garment to avoid wastage.
 It has been over two years since I last worked with winter fabrics, suiting wool, heavy flannels, cashmere blends, and my painstaking favorite: double-faced cashmeres. This season we created single panel double-faced wool crepe jackets, each piece only takes up 1 yard (90cms) of fabric – the fuchsia jacket (look 15) has two shoulder darts and 1 seam on each side from underarm to front pocket, it takes a skilled worker 60 hours to assemble this very simple looking garment.
 The color palette for this collection contrasts from cold climate neutrals; black, navy, indigo, taupe and grey vs. burnt orange, fuchsia, magenta and fire engine red. A juxtaposition between the natural and the chemical, humility and vanity, consciousness vs desires.
 Part of KRATON’s mission, is to promote Indonesian culture. Regional textiles are always incorporated into the collection. The hand-woven cloths from Ayotupas, West Timor are displayed in its natural state as shawls and also transformed into tops. The cloths are woven from organic cotton and dyed exclusively with natural dyes. Those who work with hand-woven geometric pattered textiles will understand the challenges, uneven tension and seemingly symmetrical patterns, which do not mirror. Batiks are occasionally used, only when the patterns are relatable to today’s art. Batik is a technique, not only pattern design, It too must evolve with the times to survive. Featured in this collection is a monochromatic batik top with matching shawl (look 25) made from silk crepe with a pattern known as tirtotejo,which means sparkling waters in Javanese. 
 The last 3 looks of the collection represents what is known as The Moirai in Greek Mythology; the 3 goddesses of fate who personified the inescapable destiny of man. Although we are helpless against the rising tides and individually powerless to fight global warming, together we have a role to save the earth, I believe it is our destiny.
AugusteSoesastro, Jakarta, Feb 13, 2013

Indonesia Fashion Week 2013 : Ivan Gunawan

Sedianya, perjalanan yang dilakukan Ivan untuk memenuhi undangan persahabatan dari Yayasan RATIH –sebuah yayasan yang peduli pada tenun Mandar– sekadar untuk melihat kekayaan budaya daerah ini, terutama tenunnya. Siapa nyana, perjalanan Ivan ke kota Mandar  di Polewali, Sulawesi Barat itu membuatnya jatuh cinta, pada tenun sutera buatan tangan daerah itu, pada bunyi lungsi dan pakan ketika para perempuan bertenun, pada keindahan alam sekitarnya.
Kain sutera tenun Mandar sangat khas. Berwarna terang. Memiliki corak geometris dengan motif kotak-kotak yang simetris dan dikembangkan dalam variasi ukuran ketebalan garis dan besar kotak. Penggunaan benang emas pada sutra aneka warna menjadikan hasil tenunan Mandar semakin indah.
Ivan mewujudkan cintanya dengan mengolah kain tenun berwarna terang, yang menurutnya enerjik dan berani, menjadi gaun-gaun koktail yang elok. Menciptakan sederetan busana     eklektik yang feminin dan chic. Ia bahkan sanggup mengolah kreativitasnya mencipta pakaian untuk para lelaki.
Lebih jauh lagi, Yayasan Ratih bahkan ikut membantu memperlancar komunikasi Ivan dengan pengrajin setempat sehingga ia berhasil membujuk para penenun untuk menciptakan motif cetak yang ia desain sendiri untuk mendapat kesan anggun sekaligus elegan. Kemudian mengemasnya menjadi maha karya yang apik dan mempersembahkannya di hadapan publik, sebagai peragaan di tahun keempatbelasnya mencipta, dengan judul Malolo, yang bermakna sesuatu yang cantik dalam bahasa Mandar.
Di samping kecintaannya, Ivan menyelipkan tujuan mulia untuk tenun Mandar.
"Salah satu tujuan saya mengangkat tenun Mandar ini adalah untuk membantu mendorong industri rumahan dari tenun ini. Saya ingin mempromosikan hasil karya para masyarakat Mandar ini. Agar perajin ini menjadi lebih terpacu untuk membuat lebih banyak tenunan dan berkreasi lebih baik lagi. Harapannya, dari show ini akan ada banyak orang yang berminat pada tenun Mandar," jelas Ivan.
Peragaan pertama Ivan membuka  tahun 2013 dalam ajang Indonesia Fashion Week 2013/1014 ini menghadirkan total 50 potong busana, terdiri dari 45 untuk perempuan dan 5 busana lelaki yang dibagi dalam 3 babak. 
Warna-warni yang sarat kesan bermain, playful, dalam desain garda depan Ivan yang khas untuk kaum urban adalah tema besar babak pertama ini. Percampuran tenun yang kental rasa “Indonesia” dengan gaya busana avant-garde  memberi kesan tersendiri pada kain tenun.
Ivan dengan piawai memadukan kain tenun sutera dengan brokat dan bordir. Mewujudkannya dalam potongan rok melebar (cloak), minidress, rok pensil menjadi ciri koleksi babak pertama. Sarat kesan mewah tanpa meninggalkan ciri tradisional pada kain tenun yang digunakan. 
Pembubuhan aksesori yang terbuat dari rotan pun turut menjadi penanda perpaduan budaya luar tanpa menanggalkan ciri tradisional .
Eksplorasi gaya Ivan Gunawan juga berkembang ke dalam motif cetak. Ia menyisipkan motif bunga seperti tulip, peony dan anggrek ke dalam motif kotak khas tenun Mandar yang banyak terdapat di babak kedua ini.
Motif kotak-kotak khas tenun Mandar yang dicetak dalam kain ini adalah upaya Ivan memperkenalkan corak tenun Mandar kepada masyarakat luas.
"Tenun Mandar masih dibuat dengan tangan. Ini menyebabkan, sepotong kain selesai dalam waktu lama. Untuk itu, salah satu cara mengakalinya adalah dengan mencetak motifnya supaya mudah dikenal. Tetapi untuk koleksi kali ini dipadu dengan bunga-bunga untuk memberi kesan elegan," jelas Ivan. 
Menggunakan bahan duchess, organdi, beludru, dan lace, Ivan mempertemukan siluet  duyung yang klasik, rupa yang tak lekang waktu dengan warna terang seperti shocking pink, fuschia. 
Selain itu, koleksi untuk para lelaki juga menjadi catatan penting pada babak ini. Muncul dengan aneka jas bergaya formal yang menggunakan tenun Mandar dengan motif cetak berpadu apik dengan beludru. Sepatu juga dibuat dengan motif cetak melengkapi memberi kesan keseluruhan yang unik dan gagah secara serempak. 
Keelokan alam sekitar dan panorama Mandar, secara terpuji dituangkan Ivan menjadi motif cetak bunga-bunga gigantik di atas bahan duchess dan organdi. Menjelma menjadi gaun-gaun malam yang mengagumkan dan dipercantik dengan detil lipatan mau pun teknik patern draping, bergaya kemben dan bervolume.  Ivan juga memasukkan unsur gaya tahun 1980-1990an ke dalam koleksi baju malamnya yang bergaya jubah dan peplum. Aroma vintage hadir dalam rasa masa kini.
Selendang berukuran lebar, pantulan sinar pada bahan beludru, percik bias sinar dari sekuins, aplikasi bunga tambahan tiga dimensi, hingga aksesori topi yang terbuat dari rotan melengkapi tampak total yang sarat kesan mewah.
Ivan menutup peragaannya dengan enam busana karya master piece yang molek, semolek cinta Ivan pada Mandar yang mampu ia embuskan hingga bagian akhir peragaan. [*]


In pursuit of an endless summer, we're back in the Spring/Summer 2013 season by way of Mercedes Benz Australia Fashion Week — and all of the street chic that comes with it. See Diego Zuko's best shots of the showgoers in Sydney, plus peruse all street style.