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Jakarta Fashion Week is a driving platform for Indonesian fashion industry. As the major fashion week in Indonesia, Jakarta Fashion Week aims to provide direction for Indonesian fashion industry and demonstrate the talents and creativity of the fashion workers in the country. Throughout the year, Jakarta Fashion Week also holds a variety of capacity building programs to for players within the fashion industry of Indonesia, in order to develop and maintain their creativity and business to prepare them for entering the global fashion market. Jakarta Fashion Week is organized by event management company Azura Activation.
” They have burdens round or square
drums and golden tambourines
Apes and bears wise animals
gather coins as they progress.”
Elsa Schiaparelli marvelled in the art of the oxymoron. A silhouette of pure, sharp contour is transcended by a vision of the ordinary becoming spectacular. It reveals a strong woman with Parisian allure and cosmopolitan fantasy. Today is about defining the essence of a style in fostering the paradoxes of such an eclectic personality.
The famous Circus, collection created for the summer 1938, led this new season’s heavenly parade to focus on the idea of sheen, light and colours enhancing the body. Haute Couture and the circus both crystallize poise, precision and sparkle – add imagination and an enchanting world comes to life. Grace and strength, like the feminine and the masculine, are paired in a subtle balance where women are confident with their seduction.
The Schiaparelli jacket becomes architectural. Graphic shoulder lines refer to the Constructivist aesthetic. Shocking pink, navy or black tuxedos and jumpsuits morph verticality with femininity. Lightness, transparency, draping and fluidity dazzle with tension when the fabric swirls around the body with daring sensuality.
Shiny brocade, silk lamé and iridescent pané velvet refer to a grand attitude where restrained elegance plays with shorts and slits. Bejewelled dress-straps echo Calder’s Circus. The incandescent suns of the place Vendôme shine bright on jackets and gowns. The harlequin motif is reconstructed into a multi-colored embroidered dégradé. Circus’ stars inspire a milky way in which the house codes such as the pierced heart and the padlock are transformed into a new mythological constellation.
Innocence, risk, comfort, and protection. For the Autumn Winter 2016-17 Artisanal collection, creative director John Galliano explores a modern reinvention of haute couture through his most personal interpretation of Maison Margiela’s esprit to date. Evoking an illustrative line, aristocracy is decontextualized through an urban lens. Explosive and colourful gestures of authentic fabrics snake and kerb around the body with an Empire line, tweaked and transitioned in modern gestures of protection and ecstatic abandon. Archetypes are reconfigured with rigor and romance, where a blurring of sartorial trappings meets the banal.
“A sense of the incredible and the impossible spins throughout the Artisanal collection, where fantasy is tempered by the jarring authenticity of today’s reality. Our translation of a collective consciousness stretches further than ever before, invoking a timeless array of commonplace ephemera and things strangely familiar.” – Maison Margiela
From fine muslin to resin-wax cottons or ripstop nylon, the rub of unprecious and delicate textiles is inherent to the collection’s tapestry of innovation and artisanal heritage. Opposing notions of feminine and masculine textiles are questioned and reconfigured with irreverence. Technical nylons meet Scottish wool from the Outer Hebrides, and motorcycle leathers bridge textiles woven from delicate cotton ribbons. Ornament appears as a ‘Toile de Jouy’ fabric, curvilinear ‘tribal’ studded motifs crossing swathes of knotted and padded wools, and celluloid bird appliqués decorating heavy plaid. A ‘cherubim’ lace is constructed from hundreds of minute individual fragments: it represents the technical apex of the Maison’s artisanal savoir-faire.
The seminal proposal of outerwear styles flip upside-down from an inverted stance of arching volumes to become a traditional coat shape. Garments betray multiple identities; assembled together from familiar archetypes to become layered hybrids with double lapels and undefined endings and beginnings. A windcheater is carved with the convex curve of a Watteau back; a banker’s stripe shirt is spun into a sweeping train. An intricate cartography of eaves and cornices forms a gown in vacuum-formed smoky plastic, another springs to life patched with Nick Knight’s British Birds (2008).
A burst of primary colours elevates the drab of tweed shades, as scarlet, emerald, sky blue, and sunshine yellow shine against charcoal, forest green, mustard, and chocolate brown. Mid-century pastels like ice blue and lemon sorbet fizz amongst the monochromes.
Intricate hoop earrings and ornate bracelets are hand-carved in Portugal from walnut, pear and boxwoods, and chandelier crystals appear as blood red chokers, embellished goggles, and a primary-coloured contour bra top. The original Maison Margiela deep-cleft ‘Tabi’ boot returns as a thigh-high cuissard with a new moulded rubber sole, alongside trekking-inspired sandals, fantasy hand-painted clogs, and a masculine riding boot.
“There is an idea of beauty expired this season,” says Christopher Kane. “But how that dead and thrown away beauty often looks better than when it was supposedly alive. The notion of lost and found had come to us some time ago and we had started to collect and collage these things together, ideas and memories of people, places and objects at different times. I have always been obsessed with recluses and the image of the outsider making their own world by hoarding things away. We wanted to emulate that for this collection; to take unlikely things and make them beautiful, looking to an outsider who has her own rules and her own style – she does what she wants and defines her own beauty.”
The unconventional, transformative journey of the Christopher Kane girl continues this season in a collection that celebrates the lost and found. Drawing on the autobiographical, the figure of the outsider and the idea of a new primitivism, the discarded detritus of glamour is accumulated and elevated to new heights of fashion in the collection.
Subverting humdrum ideas of luxury, a notion of preciousness and elegance is derived from the everyday together with the more exalted this season, making the ordinary extraordinary. From the humble cardboard box, transformed into corrugated camel coloured leather for clothing and accessories, to the bricolage of embroideries and appliques, ranging from the precious to the throwaway – many made with the input of the legendary Lesage for the first time – there is a purposefully naïve mix of techniques and textures, trinkets and talismans, that almost belies the complex care and craftsmanship behind the clothing and accessories this season.
Meaning and chaos combine in a dream-like, stream
of consciousness process for the collection – itself mirroring the idea of lost and found. An idea of contrast and coexistence in experimentation abounds, making use of long-term research as well as a fresh, celebratory spontaneity in the clothing. Time-lapse photography of the life cycle of flowers – a special studio project that took an entire week to document – appears as a new spin on lenticular accessories as well as in studio crafted, photo-real floral prints this season. Chantilly lace is felted and mixed with scrim to produce a new kind of fabrication, luxurious in its purposefully faded glory. Meanwhile, mink is made hyper-modern when lined with reflective fabrics together with lace electrified by reflective stitching.
This season also sees the introduction of a new Kane logo, a somewhat tongue-in-cheek notion of the luxury house staple, in a purposely ‘Ye Olde English’ found typeface. While the rain-mate bonnet is revisited, somewhat more luxuriously, with the milliner Stephen Jones for this collection – a first-time collaboration with the house.
Altogether, this season sees a mix of childhood memory and desire for some of the finer things in life, simultaneously with a celebration of the preciousness of the high fashion process once it is attained.
In a postmodern world, masculine fragility need not hide behind closed doors.
The Maison Margiela questions the tropes that define the role of man in today’s society – his uniform, his armour, and the tactile underpinnings of his sartorial wardrobe. When all expectations fall away, what melancholic remnants remain in his age of post-emotional experience?
Answers abound in the salvaged effects of past lives, when archetypes were once vested with authenticity. Gradations of the two-piece suit reflect process and power, as the proud craft of full-canvas tailoring is rendered decorative by exposed basting stitches (like spontaneous embroidery). Coat shoulders are rounded and soft, trousers fall to a loose cuff, and shirtsleeves flutter in silk poplin. Domestic foulard prints like curtains or tablecloths are illustrated with pastoral scenes and heraldic insignias, re-assembled as new shirting hybrids snapped together with salt-shrunk jersey or chambray cotton. Sepia-toned tweeds and Prince of Wales checks mingle with technical shell tanks and purist knit swimsuits that evoke a lost athletic elegance. Square-toed loafers fold down at the heel, and lace-up boots become a trompe l’oeil sandal.
Produced from found garments of varying sources and periods, ‘Replica’ styles are signified by an external white label, whilst a selection of seven ‘Re-edition’ garments return to the Spring Summer 2017 collection from within the Maison’s archives – designed between 1999-2005.
The rain falls down on last year’s man, an hour has gone by and he has not moved his hand.
The world as a stage, on which each individual represents himself, driven by passions, feelings, and by emotions that are infinite shades of living and being there. In the 400th anniversary of William Shakespeare’s death, Maria Grazia Chiuri and Pierpaolo Piccioli explore the idea of theatrum mundi for the Valentino Haute Couture Fall/Winter 2016-17 Collection. From the Elizabethan playwright they don’t grasp the stories, the plot or the protagonists, but the capacity of penetrating into the human spirit and depicting it with vivid accuracy in all its aspects and implications. It is the idea of the character as a personality, of the role as a persona that fascinates and triggers the Creative Directors, with the awareness that no individual is guided by one emotion only, but on the other hand unites them all, expressing them in different moments, or simultaneously.
The individual’s interior multiplicity and complexity is the red thread that crosses a collection that is conceived as a portrait gallery, where every dress summarizes an impulse of the soul, even the most difficult to express, and all together convey the totality of man. The austere and moderate tone, the choice of dense colors, precious and nocturnal, upon which an opulent and deep black prevails, the intentional subtraction of the gleaming and theatrical aspects of Couture, confer to the creations presence and power and a masculine grace that is a repercussion of the Shakespearian world that has an intimately and highly masculine spirit. The figurative verve appears on white cotton shirts and on tulle or cotton ruffles that recur as a sign and accent, conferring solemnity to the succession of the dresses. The austere silhouette is drawn by slim trousers worn with petite masculine jackets, by the elongated and liquid dresses, by the boule shapes that release an archetypal grace, by the solemn and transcendent cloaks that underline the regal stride. Lushness is a submerged play of weaving that must be grasped on a closer look: on dark and sumptuous brocades, on taffetas scattered by tiny tie designs that bring together once again masculine and feminine, on the organza’s which are encrusted with poetic embroideries. Contrasts on the booties with thick soles, that are characterized by touches of Elizabethan punk and jewelry assembled on leather strings, created by Alessandro Gaggio.
Transforming the secret inner being in apparel, Maria Grazia Chiuri and Pierpaolo Piccioli celebrate the representative power of fashion and the exciting and emotional alchemy of the work of the Atelier
Join us on August 5, 2016 to August 6, 2016 as we present 2016 Unique Blend Models Fashion Week.
This page will include all the tickets for the the three days events including the opportunity to purchase the vendor’s package. Please email Andrene Williams at firstname.lastname@example.org for information on sponsorship packages.
A portion of the proceeds will benefit St. Jude Children’s Research Hospital and Ladydoves Self Enrichment Non-profit Youth Organization.
FRIDAY, AUGUST 5, 2016
SUITS-N-SWAG (all male fashion show)
PLACE: Holiday Inn at 440 West 57th street
TIME: 6pm-10pm (doors open at 6pm)
SATURDAY, AUGUST 6, 2016
BIRDS OF PARADISE (all female show)
PLACE: Holiday Inn 440 West 57th street New York, NY
TIME: 6PM-11PM (doors open at 6pm)
VENDOR PACKAGE: The vendor package for Gold, Silver and Bronze include ad in our program. 5 minutes talk time and position near the entrance.
PLEASE NOTE THE AUGUST 6, 2016, BIRDS OF PARDISE, HAS VIP TABLE AVAILABLE FOR $300 AND SEATS 8 PEOPLE. THIS IS AVAILABLE ON FIRST COME FIRST SERVED BASES.
Last year’s event was great. This year we promise to make it even better. We look forward to having you joining us for an event with a worthy cause.
WHEN: Thursday, August 4, 2016 at 6:00 PM –
Saturday, August 6, 2016 at 11:00 PM
WHERE: New York – New York, NY – View Map
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