Ann Demeulemeester - Fashionista

Ann Demeulemeester

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Ann Demeulemeester Fall 2012: Modern Joan of Arc

By now you've probably noticed that the Middle Ages are the leading theme of the season. The interesting part is seeing how each designer fantasizes about a decade over a millennium old. In the case of Ann Demeulemesteer, she imagined dark (shocker) times where women soldiers wore leather trousers, loose, thigh-high flat boots, and plenty of draped moiré tops. Oversized leather and boiled wool scarves were furiously wrapped around the neck. Paired with armpit-high gloves, these accessories reinforced a rough and tough feel, 10th century style – ideal for horseback riding in the middle of a cold night.

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Ann Demeulemeester Spring 2012: Spiritualists in Shades of White

Did Ann Demeulemesteer go on a spiritual quest through the desert recently? This is certainly what her collection felt like when a leather hat and kohl eyeliner-wearing Karlie Kloss walked down in sheer black layers inspired by traditional men’s caftans. The show was like a hybrid of neo-gothic wear and several tribal references. Tassels usually found on classical Moroccan scarves were paired with a kimono-like jacket. The silhouettes were slouchier and sexier than usual: wide pants and wide tops, subtly revealing a shoulder (or an entire pair of breasts), under a seemingly demure, practical garment (for erm, those of us about to take off on a bra-less hike on Mount Sinai?)

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Paris Men's Spring 2012: Dries Van Noten, Jean Paul Gaultier, Adam Kimmel, Ann Demeulemeester, Juun.J

Long Nguyen is the co-founder/style director of Flaunt. PARIS-- Dries Van Noten: Mr. Dries Van Noten changed the venue of his show from last season’s sumptuous space at the Musée Bourdelle to an industrial loft, shifting the focus of the collection from a refined and tailored wardrobe to things that are inherently sporty and urban. But he did so without abandoning this fall’s elegant suits and coats, like the Bordeaux wine silk suit worn with an untucked white shirt. The collection contrasted technology with tradition and sportswear with sartorial construction: this meant a mix of waterproof parkas and silk leggings. There was a yellow parka with the thinness of transparent nylon fabric, a navy hooded long coat worn with tropical wool pants and a tan linen jacket with black nylon stitching. A bonding technique was employed on the outside of parkas and trims of jackets, reinforcing the outlines of the rigid cutting patterns. The long navy trench belted at the waist, the tan-charcoal-brown striped coats, and the transparent yellow raincoat are sure to be best sellers come spring. Despite the heavy technical work involved in crafting each outfit, the show was light and airy.

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Textbook for Fashionista: Emmanuelle Alt!

Who doesn't know Emmanuelle Alt? Even before her somewhat new role as Editor-in-Chief at Vogue Paris, she was making waves in the blogosphere as their Fashion Director. She's typically spotted in a Kate Lanphear-esque ensemble--jeans or leather pants, a simple shirt and some kind of awesome blazer or coat. Ms. Alt has certainly nailed her street style pose too, but being shot as many times as she is, who wouldn't develop a trademark stance?

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Ann Demeulemeester Fall 2011: Mammoth Elegance, Suited for a Modern Ice Age

As the lights dimmed and the music started, flowing dark woolen pieces trailed behind ornately plumed models fitted into robust jackets and pants. They projected the primal strength of a contemporary woman conquering the elements with fierce elegance. Fashion is and always has been about survival, after all. It’s clear that Ann Demeulemeester’s aesthetic is “edgy.” That certainly hasn’t changed this season, evident in the collection's spectacular theatrics.

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Paris Men's Fashion Flash: Lacroix Relaunches, Willhelm Goes To the Jungle, Demeulemesteer Does Edward Scissorhands

PARIS--Lacroix is back, ladies and gentlemen--sans Christian, alas. When the house closed in 2009 after going through severe financial trouble, we mourned its baroque dementia. But today, Sacha Walkhoff, his assistant of 17 years, is in charge. “We are going to run the house very differently than we once did,” said Walkhoff, “we are currently developing lots of licenses, and are starting by relaunching Lacroix homme. We’ll wait a little longer to restart women.” The line, shown through a presentation at the Maria Luisa boutique themed around "migrating boys," was for elegant globetrotters: Suits with flowery seams and lining, spurts of color and button badges. “Lacroix, Chapter Two” as Walkhoff put it. Bernhard Willhelm did his usual nutty number: the Solomon de Rotschild private mansion in Paris was taken over and transformed into a gigantic performance that looked like Willy Wonka going off to the jungle.

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Brood Spring 2011: Serkan Sarier Impresses the Heavy Hitters

Stepping into Brood's Spring 2011 presentation was like stepping into an elite club where only the fashion industries heavy-hitters were welcome. Sally Singer, Vera Wang, Zac Posen, and Mario Grauso were all in attendance. Honestly, nothing less should have been expected. After all, Brood is is the brainchild of Serkan Sarier, a graduate from the Royal Academy of Fine Arts in Antwerp--one of the most prestigious fashion schools in the world. Some notable grads of the Royal Academy include Ann Demeulemeester, Dries Van Noten, and Martin Margiela, so you can imagine what editors expect from an Antwerp scholar.

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Ann Demeulemeester Takes Us to a Convent for Spring 2011

PARIS--"Wow, this looks a fashion funeral," whispered a photographer setting up his camera as the Ann Demeulemeester show was about to start. Held in a convent on the Parisian left bank, the crowd was suitingly dressed head to toe in black. Was it monastery chic, or paying homage to Ann’s somber taste? We pondered. "I think I’m ready to move to something pure, clean, but yet abstract," Ann told us minutes before the show. And indeed she did: the runway consisted of a gradient starting in a pure white, moving onto touches of black, then full-on black. Old Ann, new Ann: she created a balance between a soft, pared down silhouette and her love for layers. The transition from white to black occurred through prints: Ann created giant patterns onto fabric, that she then cut into clothes: the motifs turned into abstract, haphazard touches of black -- at first rare and then gradually denser, for white to slowly fade out. Because many pieces were cut out of the same giant print, “Every piece is totally unique,” she said.