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string | URL
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A F Vandevorst
|
spring-2010-ready-to-wear
|
https://www.vogue.com/fashion-shows/spring-2010-ready-to-wear/a-f-vandevorst
| 2,010
|
ready-to-wear
|
spring
|
With transparency and visible lingerie shaping up as a couple of Spring's biggest trends, An Vandevorst and Filip Arickx are, for better or worse, in their element. They didn't invent innerwear as outerwear—that somewhat dubious honor probably goes to Madonna and Jean Paul Gaultier—but it is a significant aspect of their oeuvre, and tonight they worked it like nobody's business. Pausing at a wind machine at the back of the runway, the models' sheer, blousy nude shirtdresses and slips fell off one shoulder to expose the body casts they wore underneath, while flesh-toned stockings left their briefs visible. The casts, which were bolted, not sewn, together from stiff, papery fabric, gave structure to the collection's soft, floaty fabrics, but they were a strange motif: You wondered what place, if any, there is for them in real life. The way the models' pants were stuffed into the tops of sheer hose was a bit of a puzzle, too. Why hide your work? From a two-tone wrap trench with a trio of substantial leather belts to a soigné blue chiffon blazer tucked into a narrow pencil skirt, there were some timely pieces on the runway. Unfortunately, they were mostly obscured by heavy-handed styling tricks.
|
Nicole Phelps
|
September 30, 2009
|
An Vandevorst
|
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|
An Vandevorst & Filip Arickx
|
An Vandevorst & Filip Arickx
| 1
| 100
|
||
A F Vandevorst
|
fall-2011-ready-to-wear
|
https://www.vogue.com/fashion-shows/fall-2011-ready-to-wear/a-f-vandevorst
| 2,011
|
ready-to-wear
|
fall
|
Designer inspirations. At times they seem pulled out of thin air at the eleventh hour, at others so arcane as to be irrelevant, and sometimes just plain irrelevant. So it was with hesitation that one looked upon An Vandevorst and Filip Arickx's creative source material for Fall, set up backstage like a mascot in a small glass case. The work of Dutch artists Maarten Kolk and Guus Kusters, it looked like a piece of brown felt formed into the body of a bird, with actual avian legs and claws. Into its tail, a bit of newspaper had been stuffed. "They give the skeleton a new skin," said Vandevorst. "We use almost all the elements that you see here."They did, and it all sort of made sense. The designers had turned Spring's Joan of Arc into a sharper, more modern girl in shiny-buttoned woolen admiral's coats, twisted and cinched at the waist with harnessed and buckled knee boots. As each model walked out she stopped midway and took a slow turn to reveal some sort of bustle-cum-tail feather, whether it was pleated shirting jutting out of a jacket vent, a leather crinoline frame, or even a bit of newspaper. You could spy cotton shirting printed with newspaper, visible from pushed-up sleeves, and the designers also used the real McCoy to stuff into pleated skirts for a kind of padded-out effect.By the end the contrivance in all its various forms grew a bit old, but the clothes didn't, particularly all that terrific tailoring and a few bias-cut silk gowns worn with cutaway jackets or tumbling, rough knits. And is it so big a leap? Giving birds a new set of feathers is what designers do every season.
|
Meenal Mistry
|
March 2, 2011
|
An Vandevorst
|
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|
An Vandevorst & Filip Arickx
|
An Vandevorst & Filip Arickx
| 1
| 101
|
||
A F Vandevorst
|
spring-2011-ready-to-wear
|
https://www.vogue.com/fashion-shows/spring-2011-ready-to-wear/a-f-vandevorst
| 2,011
|
ready-to-wear
|
spring
|
Being inspired by armor is familiar ground for Filip Arickx and An Vandevorst, their signature look being one that falls into the category of the urban warrior. But for Spring, the duo took that notion and evolved it into an exploration of metal in all its various forms. Perhaps unintentionally, it made for an uncharacteristically flashy look (not necessarily a bad thing). Let's call it Glamour Armor.Arickx and Vandevorst ran the gamut of metallic treatments. There was the stiff, aged silver herringbone beading, used on the cap-sleeved dress that opened the show and on more constructed pieces like a breastplate-cum-shell top. A softer fabric covered with silver-gray sequins was draped up into sexy skirts. And the glam factor really got going with gold mesh (hello, A.F. Versace!) and liquid bronze and gold lamé. The pair kept their hard-edged fighting spirit by layering all that shine with skinny sliced ribbon pants and knits crafted to look like chain mail.Perhaps as a sign of their own little revolution, one model came out carrying an A.F. Vandevorst flag. (Was this Liberty Leading the People into shiny new territory? The Delacroix reference did appear to be echoed in the sashlike draping on dresses throughout.) Yet if the dedicated A.F. Vandevorst fan isn't up for the glitz of a gold mesh halter top or lamé harem pants, there were lovely stiff canvas coats and jackets—cut in a fabric based on painter's canvas—hand-painted in watery strokes. In all, this was a bright and fresh moment for a collection that easily turns doom-and-gloomy.
|
Meenal Mistry
|
September 29, 2010
|
An Vandevorst
|
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|
An Vandevorst & Filip Arickx
|
An Vandevorst & Filip Arickx
| 1
| 102
|
||
A F Vandevorst
|
fall-2012-ready-to-wear
|
https://www.vogue.com/fashion-shows/fall-2012-ready-to-wear/a-f-vandevorst
| 2,012
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ready-to-wear
|
fall
|
German artist Joseph Beuys has been a mascot-muse for An Vandevorst and Filip Arickx since they began. So it's surprising that until now the Belgian duo never came around to this Fall's conceit: conjuring Beuys' female companion. The thought led them to choreographer Pina Bausch, a creative peer, and a mix of her masculine way of dressing and the bias-cut silks in which she costumes her dancers.On the runway, the designers' riff had a dreamy serenity, and this was easily one of their best collections to date. As a nod to the artist's felt-covered objects and to preserve his aforementioned companion's imaginary status, this parade of Beuysian belles was appropriately covered up. Stephen Jones made the fedoras—echoing Beuys' own ever-present millinery—that were cleverly perforated in front to pull over the face while avoiding any blinded-model disasters. Scarves in rabbit fur and chunky knit completed the obscuring.The effect was quite striking, but the clothes served both masters—concept and commercial reality—with lean trenchcoats over drapey silk dresses and nubby grand cozy cardigans and pullovers that were layered and belted in a way that makes you hope that winter isn't a thing of the past. Even the surreal details worked, like the trompe l'oeil prints of fur and hand-knit on spongey silks. The softness gave way to Bausch-esque tailoring, both plain and gold bullion encrusted, and yet more great pieces. If we had to quibble, it would be that Vandevorst and Arickx provided too much of a good thing. Fewer looks would have packed stronger punch. Still, kudos for a collection very well done.
|
Meenal Mistry
|
February 29, 2012
|
An Vandevorst
|
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|
An Vandevorst & Filip Arickx
|
An Vandevorst & Filip Arickx
| 1
| 103
|
||
A F Vandevorst
|
spring-2012-ready-to-wear
|
https://www.vogue.com/fashion-shows/spring-2012-ready-to-wear/a-f-vandevorst
| 2,012
|
ready-to-wear
|
spring
|
After visiting Kenya last year, An Vandevorst and Filip Arickx were quite taken with the warriors of the Turkana and Samburu tribes—two groups of young men who are apparently hyperconscious of their bodies, which they delight in decorating and parading about. (Sound like anyone you know?) "It's really their pride we loved," Vandevorst explained backstage. "They're just so proud of the way they look."Still, that strong sense of auto-appreciation wasn't all the designers plucked from Africa. It was also the ingenuity of the simple square scarf wrapped into seemingly complex silhouettes. And, in cautious doses, paisleys and block prints. The task, Vandevorst explained, was "how do we take that and make it right for Europe?" They answered quite elegantly with dark moody silks, some of them heavily layered, fringed, and tasseled; others lean, draped, and fastened with skinny ties. Printed scarves with more fringe spilled out of jackets and were looped and belted as halters. The Western world's warrior also got his due. Vandevorst and Arickx have long loved a military reference, but this time it was more of the decorative parade-bound variety, with panels of frogging set askew on dresses and straight on shrunken soldier's jackets, and braided leather harnesses looped around shoulders. This marriage of ideas read quite rock 'n' roll, aided by the Mohawk-like tribal headdresses and the black and oxblood leathers. And like rock 'n' roll, at times this merger of culture and concept got a little messy. But overall, it made for one of A.F. Vandevorst's most immediately appealing collections in many seasons.
|
Meenal Mistry
|
September 28, 2011
|
An Vandevorst
|
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|
An Vandevorst & Filip Arickx
|
An Vandevorst & Filip Arickx
| 1
| 104
|
||
A F Vandevorst
|
fall-2013-ready-to-wear
|
https://www.vogue.com/fashion-shows/fall-2013-ready-to-wear/a-f-vandevorst
| 2,013
|
ready-to-wear
|
fall
|
Designers An Vandevorst and Filip Arickx partnered with filmmaker Dirk Braeckman to create the evocative six-minute video that played at the beginning of their show. In it, the choreographer Lisbeth Gruwez channeled some sort of wild creature, or at least a possessed woman, writhing on the cement floor of a warehouse and struggling down a ladder, her face completely obscured by the long bangs of an enormous wig. The models wore the same hairpieces when they stepped off the tableau vivant that was exposed when the video scrim dropped. According to Vandevorst, the clothes themselves told a different story than the film, one based on the novelThe Time in Betweenby María Dueñas, of a couturiere turned spy in 1930s Spain and Morocco.That's a whole lot of background for a show with just 16 looks. If appearances suggested that the duo had spent too much time and energy on this season's origin story and not enough on what really matters, in the end the fashion didn't disappoint. With its dark palette, abundance of paisleys, and concentration of floor-scraping dresses and skirts, the clothes had a nice sense of drama. It was a mood aided and abetted by a pair of military jackets that featured large, slightly askew patch pockets, and fastened on the side as if they'd been pulled on in a hurry. The jackets pointed up the designers' tailoring skills, as did a wrap coat in green and navy paisley cinched by a wide leather belt. This was a vivid outing from the A.F. Vandevorst team.
|
Nicole Phelps
|
February 28, 2013
|
An Vandevorst
|
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|
An Vandevorst & Filip Arickx
|
An Vandevorst & Filip Arickx
| 1
| 105
|
||
A F Vandevorst
|
spring-2013-ready-to-wear
|
https://www.vogue.com/fashion-shows/spring-2013-ready-to-wear/a-f-vandevorst
| 2,013
|
ready-to-wear
|
spring
|
Fall for Spring is one of this season's underlying stories. Blame it on global warming, or our increasingly flat planet, or the bigger bang that cold-weather clothes deliver at stores. Whatever the reason, we've seen more somber colors and layers on the runways than we usually do during this part of the fashion cycle.Filip Arickx and An Vandevorst keyed in to the trend, starting their collection with a black trenchcoat, elbow-length gloves, and a Stephen Jones-designed wide-brim transparent hat. Only slowly did their models shed their many layers and their dark colors, and by the end they were wearing summer whites, including a couple of the crisp shirts that have long been a trademark for this duo.Along the way, the designers produced some strong looks: a sleeveless peplum and matching pants in gold-embroidered black cotton, a softly structured jacket with one lapel trailing in the model's wake, a Champagne-colored silk sleeveless wrap dress. Arickx and Vandevorst seem intent on exploring the new, more dressed-up look they introduced last season. That's smart. Too bad the show suffered from a surfeit of accessories. We'll take the Stephen Jones hats, but the embroidered scarves, the gloves, the belts, and the gold body paint only got in the way of AF Vandevorst's polished new message.
|
Nicole Phelps
|
September 27, 2012
|
An Vandevorst
|
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] | 0
|
An Vandevorst & Filip Arickx
|
An Vandevorst & Filip Arickx
| 1
| 106
|
||
A F Vandevorst
|
fall-2014-ready-to-wear
|
https://www.vogue.com/fashion-shows/fall-2014-ready-to-wear/a-f-vandevorst
| 2,014
|
ready-to-wear
|
fall
|
Have An Vandevorst and Filip Arickx run out of ideas? The model who walked out wearing A.F. Vandevorst's logo glued to her bare chest certainly seemed to suggest that they have. That look was the definite low point in their show tonight. It's not easy for a small brand like theirs to maintain momentum, but grasping at a trend like logomania, even if Stephen Jones signs on to assist (the milliner made the show's felted baseball caps), seems like the wrong way to go about it. Vandevorst and Arickx still cut a good-looking suit. The best one here was a medley of different textures: nubby wool, crushed velvet, and jacquard. Softly tailored pieces like a silk tunic with cargo pockets and flowing pants looked fierce with over-the-knee leather boots. Better to focus their energies on bankable clothes like that next season.
|
Nicole Phelps
|
February 27, 2014
|
An Vandevorst
|
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] | 0
|
An Vandevorst & Filip Arickx
|
An Vandevorst & Filip Arickx
| 1
| 107
|
||
A F Vandevorst
|
spring-2014-ready-to-wear
|
https://www.vogue.com/fashion-shows/spring-2014-ready-to-wear/a-f-vandevorst
| 2,014
|
ready-to-wear
|
spring
|
"1998 | 2013," A.F. Vandevorst's program notes announced. Perched atop each seat was a tiny box filled with a sugarcoated Belgian chocolate; "Thank you," the words on it read. To celebrate their fifteenth anniversary, An Vandevorst and Filip Arickx took a trip through their archives. "We found the pieces closest to our hearts and redid them in a fresh summer version," Vandevorst said backstage. For crowd members who'd been following their career, the show played out as a series of "remember when" flashes. The flat studs that decorated shirtdresses in neat grids were a callback to Fall 2010; the embellished and fringed scarf worn as a top was of a more recent vintage—Spring 2013, to be precise. But this didn't have the feel of a greatest-hits moment.After a decade and a half in business, the most marked characteristic of the husband-and-wife pair is their storytelling approach to each collection. Tonight's show was no different. For Spring, they imagined their girl on some sort of trip. Whether through the desert or on the beach wasn't clear, but one side of each model's outfit and half of her hairdo were plastered in sand, as if, perhaps, she fell asleep there, or rolled around with a lover. Either way, this was an evocative show. A long jersey wrap dress barely held in place by a grosgrain ribbon had a soigné glamour; same goes for other dresses that were clingy in back and draped asymmetrically from squares of fabric in front. Vandevorst and Arickx have a good sense of their own strengths. The show left you hopeful about their next fifteen years.
|
Nicole Phelps
|
September 26, 2013
|
An Vandevorst
|
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An Vandevorst & Filip Arickx
|
An Vandevorst & Filip Arickx
| 1
| 108
|
||
A F Vandevorst
|
fall-2015-ready-to-wear
|
https://www.vogue.com/fashion-shows/fall-2015-ready-to-wear/a-f-vandevorst
| 2,015
|
ready-to-wear
|
fall
|
Where to start? Probably in Peru, where An Vandevorst and Filip Arickx traveled recently and became inspired as much by condors, folklore, traditional dress, and ponchos as they were by their time hanging out with Mario Testino in his museum there. Back at home, they began Vandevorst-izing this new ammunition. "In our Belgian way, we took out all the colors," An said backstage. Rose floral jacquard, patterned Quechua weaving motifs, layered Andean skirts, and Spanish colonial frill were thus all made monochrome—shades of grayed. Stephen Jones' hats were condor perches or fedoras. The silhouettes were long, lean, and brooding—made longer and leaner by viciously heeled boots—or slouchy yet sinuous.But what about those protective face masks? Unless they're worn during the processing of Peru's most notorious export, they did not seem a detail particularly evocative of the country. The answer rested with Joris Van de Moortel, an artist recruited by A.F. Vandevorst to further desaturate their desaturated collection at today's presentation. Held at the Belgian ambassador to France's residence, this was a chaotic affair where guests were offered their own face masks—and protective onesies, too—when they arrived. As the models emerged from behind a screen of the plastic sheeting that swathed the entire interior, Van de Moortel sprayed them, and the excellent band playing alongside him, with white paint from an industrial spray gun. It was great, deranged fun. Special props to the ambassador, Patrick Vercauteren Drubbel, for his commitment to the dissemination of avant-garde Belgian lunacy.
|
Luke Leitch
|
March 5, 2015
|
An Vandevorst
|
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|
An Vandevorst & Filip Arickx
|
An Vandevorst & Filip Arickx
| 1
| 109
|
||
A F Vandevorst
|
spring-2015-ready-to-wear
|
https://www.vogue.com/fashion-shows/spring-2015-ready-to-wear/a-f-vandevorst
| 2,015
|
ready-to-wear
|
spring
|
Today's A.F. Vandevorst show was an interesting mix of poetry and prose. An Vandevorst and Filip Arickx had come up with a story, about a female pilot flying around the world who parachutes into terra incognita and begins exploring. Which is to say, Vandevorst and Arickx were riffing on parachutes and flight suits, a theme sledgehammered home by the rather extraordinary opening gown of what looked like parachute silk, with a train nearly the length of the runway. That was poetry; so too, the dresses and jackets of cotton/aluminum, which were sculpted to look fiercely windblown. Not particularly realistic for everyday wear, those clothes, but they had genuine expressive force. And anyway, there was plenty of prosaic stuff here, like the attractive silk separates in a feather print, or jumpsuits and jackets with interior backpack straps, an idea that's time has surely come. Some of the jumpsuits hit the flight theme too hard, but in general, the "prose" looks here had a pleasing matter-of-factness. A tailored vest in the feather print, paired with matching flared pants, was one look here that popped; the dresses with specially distressed pleats likewise transcended the mundane, without entering into the region of total fancy. Which is to say, this was a better outing than we've seen from this brand in a while. Much like their imaginary pilot, this season Vandevorst and Arickx were—depending how you see it—either forging their way forward or finding their way back.
|
Maya Singer
|
September 26, 2014
|
An Vandevorst
|
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|
An Vandevorst & Filip Arickx
|
An Vandevorst & Filip Arickx
| 1
| 110
|
||
A F Vandevorst
|
fall-2016-ready-to-wear
|
https://www.vogue.com/fashion-shows/fall-2016-ready-to-wear/a-f-vandevorst
| 2,016
|
ready-to-wear
|
fall
|
On theA.F. Vandevorstrunway today (the brand has moved from Paris to London), a crew of videographers stalked the models, transmitting feeds to flat-screen TVs erected at the far end of the catwalk. Just prior, An Vandevorst, who runs the label with husband Filip Arickx, said, “Today’s collection is for a woman who wants to profit from every moment of the day.” Interesting, given the reality-TV tones of the cameramen’s gimmick—though instead ofKUWTKairbrushed polish, this was way more twisted. (Ultimately, the production didn’t quite sync with the clothes, but it provided some food for thought nonetheless.)“She doesn’t have time to go home, so she takes her closet with her,” continued Vandevorst. A full array of garments followed suit, and, much of the time, they were manipulated or layered to serve fresh (if odd) purposes. Denim (in the form of trousers, skirts, and jorts) was flipped around—butt pockets in front, flies down the back. It was kind of cool and will certainly resonate with jeans aficionadas. If trailing and side-bunched shirting felt too overdone, the show’s rhythm was rescued by a series of hyper-trendy hoodies near its end, highlights of which included a zebra-striped option and a heavy leather knockout worn over a black velvet maxi skirt. Platform knee-high boots and velvet-contoured booties were also solid. And while the influence ofVetementswas undeniable here, there were elevated parts—a step off the street, if you will—with tailored pieces by the Belgian-heritage house Scabal. “They’re the Savile Row of Brussels,” said Vandevorst with a smile. A single-button tuxedo dress, fastened at the hip, did indeed look fabulously dandy.
|
Nick Remsen
|
February 22, 2016
|
An Vandevorst
|
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|
An Vandevorst & Filip Arickx
|
An Vandevorst & Filip Arickx
| 1
| 111
|
||
A F Vandevorst
|
spring-2016-ready-to-wear
|
https://www.vogue.com/fashion-shows/spring-2016-ready-to-wear/a-f-vandevorst
| 2,016
|
ready-to-wear
|
spring
|
You heard this collection coming long before you saw it: a gutsy roar that grew to a crescendo as the models rode around the block from backstage into the courtyard of the Faculté de Médecine Paris Descartes. They were riding pillion on a 25-strong lineup of muscle bikes—Harleys and Triumphs. This was because, asAn Vandevorstexplained pre-show: “It’s a road trip by a woman who lives in the East and has traveled to the West.” Hence the mirrored Indian beading of lean biker-touched separates and fabulous goth-influenced saris, and the silver-shot Chinese brocade on cheongsam-biker hybrids. None of these souvenir details was especially literal; a studded, textured, and collarless burgundy jacket looked Chanel-meets-Mongolia (via Antwerp) and made a fine cupola to the elaborately tented blue plissé skirt below.Vandevorst tics—frogging, tailoring, leanness, sculpted volume for effect—recurred, most strongly on a set of white looks near the finale that achieved malleable stiffness and an otherworldly glow thanks to the aluminum shot through the fabrics. Also starring here was a pedal-to-the-metal judo suit. Crocheted face masks with sequined lips were de-sinisterized balaclavas, and the footwear, naturally, was all biker boots—although sometimes it featured high heels. Road signs were enlarged and broken up into the print used on one long, flowing coat worn tied around the waist by its sleeves—and once the show was done, the bikers outside willfully ignored local traffic regulations and roared off en masse. One of them broke down, but that was the only glitch in this delightful little riot of a collection.
|
Luke Leitch
|
October 1, 2015
|
An Vandevorst
|
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|
An Vandevorst & Filip Arickx
|
An Vandevorst & Filip Arickx
| 1
| 112
|
||
A F Vandevorst
|
fall-2017-couture
|
https://www.vogue.com/fashion-shows/fall-2017-couture/a-f-vandevorst
| 2,017
|
couture
|
fall
|
Of all the special materials displayed in A.F. Vandevorst’s show as a guest member on this season’s haute couture schedule, the recurrence of reworked garbage bags seemed particularly noteworthy. But lest anyone detect a disrespectful provocation, An Vandevorst and Filip Arickx confirmed that their intention was precisely the opposite. “It’s about upgrading,” Vandevorst said. “The message was that you can use whatever as long as you’re working in a couture way.” And the way they formed the black plastic into a bodice and built it up into ruffled, tiered skirts, or else how it appeared as floral embroidery on a sweater, was pretty convincing. As in, whether or not the pieces end up being worn, the execution would have been the same had the material been lacquered organza or raffia. Moreover, by using local Antwerp garbage bags (the ones printed withrest,i.e., neither organic nor recyclable waste), A.F. Vandevorst was also acknowledging its home base, no matter whether the brand shows in Paris or, as it has most recently, London.But then what about the other materials—the second-skin black vinyl, yellow latex accents, and faux fur outerwear—which might imply that the collection was aiming for the right side of trashy? The interesting thing here is how A.F. Vandevorst integrated uniform references—from regiment braiding to nun’s habits—but turned them a bit wonky, so that stripes appeared out of line or a collar was composed of different parts. With a dress suit in faded animal-print jacquard and jackets in a jacquard that suggested layers of patina, the original concept swung downward; and yet, these pieces will likely have the widest appeal. The collection’s thrifty baroque mix was underscored by random strass embellishments and a digital print of collaged upholstery fabrics, which as tracksuit evening attire seemed both odd and uncharted for the label. However, reshuffle some of the looks, zero in on the footwear—especially the burnished military braid cowboy boots—and you end up with a solid Fall retail offering in stores soon enough.Lastly, Stephen Jones and his team imagined found objects as headpieces—pants as turbans, old medals arranged as bonnets, and unwieldy bags as veils. If couture-approximate bag ladies sound absurd, they ultimately packed a visual punch.
|
Amy Verner
|
July 2, 2017
|
An Vandevorst
|
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|
An Vandevorst & Filip Arickx
|
An Vandevorst & Filip Arickx
| 1
| 113
|
||
A F Vandevorst
|
spring-2017-ready-to-wear
|
https://www.vogue.com/fashion-shows/spring-2017-ready-to-wear/a-f-vandevorst
| 2,017
|
ready-to-wear
|
spring
|
ForA.F. Vandevorst’s Spring collection, An Vandevorst and Filip Arickx worked with artist Dirk Braeckman on a short film to bring their designs to life—departing from their usual runway show format. The clip, which features a trio of recalcitrant misfits ranging around the Belgian music festival Pukkelpop, opens with a voice-over of this verse from Tom Waits’s “First Kiss”: “She drove a big ol’ Lincoln with suicide doors and a sewing machine in the back.” Vandevorst explained: “It’s the story of a woman who, on the day of her marriage, decides not to get married. So she runs off with her friends and goes to a festival.” Liberation and rebellion as inspiration, at getaway speeds and with every last bit of caution thrown to the wind.Vandevorst and Arickx took, say, a corset, deconstructed it, and sewed it on the hip, at an angle, as if it was in the midst of being taken off. A men’s tuxedo jacket had zips at the waist, like that runaway bride had stolen it off the groom’s back, cut it up in haste, and slipped it back on for her jaunt to the fairgrounds. This A.F. Vandevorst scenario also offered plenty of great boots and negligee dresses that were sheared off from the pelvis in the front. “The thought is like the front of a shirt is tucked in, but the back is trailing,” said Vandevorst. Leave it to these two to put a new spin on the (now ubiquitous) termfestival dressing.
|
Nick Remsen
|
September 28, 2016
|
An Vandevorst
|
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|
An Vandevorst & Filip Arickx
|
An Vandevorst & Filip Arickx
| 1
| 114
|
||
A F Vandevorst
|
spring-2018-couture
|
https://www.vogue.com/fashion-shows/spring-2018-couture/a-f-vandevorst
| 2,018
|
couture
|
spring
|
To mark their 20th anniversary as a brand, An Vandevorst and Filip Arickx presented one look from each of their past 40 collections together, repositioning the actual archive pieces in the present by styling it afresh. The title, Always+Forever, expressed heart; the tone, signaled by heraldic flags being sliced through the air, expressed might.Out came the corset backed with a saddle from their very first collection; the trench from Spring 2004 made entirely of brown paper; the army green parachute silk dress from Spring 2015 with its pooling train; Spring 2016’s heavy metal sari accessorized with a motorcycle helmet; and, of course, the harness stacked with doves from just last year.Seen it all before? Sure, those who have followed the Belgian couple’s work would recognize the flashbacks—in part because they are mostly prone to making idiosyncratic statements outside of trend winds. But anyone viewing this collection for the first time with an eye turned toward a beautifully tailored backward morning coat or black bustier gown would conclude that their dramatic vision has held up well.“That’s where you get the difference between fashion and product,” said Arickx backstage. “You can keep these pieces and just reintegrate them.” The integration was aided by B. Åkerlund, who not only styled the looks but collaborated on a range of T-shirts that touch on key A.F. Vandevorst imagery including, of course, the signature red cross. “It was a match made in heaven,” he said, with Åkerlund likening herself to their baby. Her touch, in any case, was helpful; for such a special occasion, the looks didn’t take themselves too seriously.While the couple would rather you didn’t think of today’s effort in retrospective terms, the feeling was unavoidable thanks to their own messaging: a stylized stamp of the collection date somewhere on each look, plus the actual archive reference clipped on like an identity card. It was as though mannequins in an exhibition had been animated just long enough to remind us of two independent spirits still going strong.“When you tell 20 years of your life in 15 minutes, the emotions can feel quite compressed,” said Arickx. Meanwhile, the final look offered a clue to what lies ahead for the designers, if not their brand. The motorcycle suit reassembled into a decidedly high-octane dress coat seemed somewhat random until he confessed: “We both want to get our license.”
|
Amy Verner
|
January 25, 2018
|
An Vandevorst
|
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|
An Vandevorst & Filip Arickx
|
An Vandevorst & Filip Arickx
| 1
| 115
|
||
A F Vandevorst
|
fall-2019-ready-to-wear
|
https://www.vogue.com/fashion-shows/fall-2019-ready-to-wear/a-f-vandevorst
| 2,019
|
ready-to-wear
|
fall
|
From their home base of Antwerp, An Vandevorst and Filip Arickx may be safely removed from fashion’s madding crowd, but that doesn’t keep them out of the loop. Far from it, in fact. This season, the married couple linked up with New York–based photographerSteven Sebring, whose multimedia studio contains a 360-degree camera rig, built for the creation of 3-D holographic fashion images (including an inauguralshootforVogue). “We had this idea of trying to do something that shows the movement in clothes, or how we can have the experience of a fashion show in another way,” Arickx said. “With this way of filming, we could achieve that same experience, and it’s even easy to share with people all over the world.”One month ago, Arickx arrived on the Lower East Side with their Fall 2019 collection and found a creative soul mate. “With Steven, it was like we’d worked together for years,” he said. “He is from the same generation,” Vandevorst added, “but we’re both still anxious to work with these new technologies and have this evolution.” At their Paris presentation, the designers projected a video lookbook of their models leaping and freezing in midair, the 360-camera spinning around them.To complement this dynamic footage, Vandevorst explained, they chose bright colors like chartreuse and violet that popped on-screen, working off a rough vision of a young American girl running around the countryside in her parents’ clothes. Think: a boxy blazer cut from bonded wool with invisible zippers up both arms to provide freedom of movement—“Papa’s suit coat,” Vandevorst called it. The high-waisted pleated skirts and long, wide-leg pants conveyed that same notion, as movement remained front of mind. Should the three choose to collaborate again next season, it will be fascinating to see what else might be best expressed in holographic form.
|
Monica Kim
|
March 2, 2019
|
An Vandevorst
|
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] | 0
|
An Vandevorst & Filip Arickx
|
An Vandevorst & Filip Arickx
| 1
| 116
|
||
A F Vandevorst
|
spring-2019-ready-to-wear
|
https://www.vogue.com/fashion-shows/spring-2019-ready-to-wear/a-f-vandevorst
| 2,019
|
ready-to-wear
|
spring
|
An Vandevorst and Filip Arickx have been married and at the helm of their sustained, independent, and successful fashion brand for 20 years. Both of these partnerships are remarkable achievements and deserving of celebration. So last year the couple marked the 20th anniversary of their Antwerp-based company A.F. Vandevorst; and today, at their show in Milan, they reflected on matters more personal. The Spring/Summer collection began as a study of the “heritage of wedding dresses,” said An Vandevorst backstage, “the way mothers pass them down to daughters and on and on.” The couple has amassed a vast collection of vintage wedding gowns, which they have cut up, reworked, and completely mixed with T-shirts, hoodies, studded trousers, and thigh-high boots—the iconically tough and tender basics of their nomadic (yet still Belgian) hipster aesthetic. The nine or so total wedding looks in the show—from strapless with a back flange to an encrusted, hacked-off mini sheath—can be specially ordered, but the beadwork, lace, and satin will vary given the nuances of the vintage materials. Even the most commercial interpretations, which include a fabulous oversize white hoodie with lace inserts and embroidery, will have a one-off quality. It’s all overtly handcrafted and satiny and boldly embellished—rather unwittingly on-trend for Spring 2019!This is wonderful for the couple, who, for two decades—trends be damned—have stayed true to their vision of a woman who favors crisp tailoring, soft shirting, kinky lingerie, and thunderous footwear to go everywhere and anywhere at any hour. And that woman is well served by this collection. Her white silk wrap dress now has pearl-and-lace-adorned white trousers to match—or swap out the trousers for jeweled thigh-high boots, a fetish mask, and a lace veil, and it’s off to Vegas, baby! There are cool riffs on tuxedos as well, from cream trousers worn with flat, bowed mules to a double-breasted jacket with an exaggerated shoulder line (also a trend point for 2019) paired with a perfect black pant. The two prints in this collection are both graphic and slyly romantic (one is of wedding rings with safety pins, the other of bridal bouquets, fractured and stripped of color), and they appear on shell tops, skinny pants, floaty summer windbreakers, and ankle boots. Finally, there were bags on the runway today, a first for A.F. Vandevorst. Their bride seems to be on the move, with carryalls, cross-bodies, and saddle purses galore in neatly utilitarian white, black, and steely blue at her disposal. Her boots may be bedazzled, but her bag means business, literally.
|
Sally Singer
|
September 22, 2018
|
An Vandevorst
|
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] | 0
|
An Vandevorst & Filip Arickx
|
An Vandevorst & Filip Arickx
| 1
| 117
|
||
A P C
|
fall-2012-ready-to-wear
|
https://www.vogue.com/fashion-shows/fall-2012-ready-to-wear/a-p-c-
| 2,012
|
ready-to-wear
|
fall
|
A.P.C.'s Louis Wong, a spokesperson for the design team, often stays close to home when seeking inspiration. "We actually look at a lot of people in the Sixth," Wong said at today's presentation in the company's Rue des Saints-Pères showroom. "They're traditional bourgeois but a bit arty. Their clothes are always a bit down at the seams, not perfect." That said, the Fall collection ventured slightly further afield than the Left Bank, to traditional English hunting gear. Wong went straight to the source for bona fide Harris tweed, cut into a leather-trimmed cape and car coat with matching skirts. Tartan flannels, meanwhile, got an upgrade into A.P.C.'s sweet, sixties-ish shapes.In menswear, the reference stayed typically neat and narrow, even with the comfortable slouch of a flannel shirt or a shawl-collared sweater with khakis and gum-soled boots. As the collection cycled through slim suits to cable knits and parkas, the look was consistent: rumpled but quite dapper. "It's a typical A.P.C. collection," said Wong. "Lots of old French movie references." Fittingly, Catherine Deneuve had stopped by earlier to see her friend Jean Touitou, while the spirits of Belmondo and Delon drifted lightly through the air like smoke from a Gauloises.
|
Meenal Mistry
|
March 4, 2012
|
Jean Touitou
|
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] | 0
|
Jean Touitou
|
Jean Touitou
| 0
| 118
|
||
A P C
|
fall-2012-menswear
|
https://www.vogue.com/fashion-shows/fall-2012-menswear/a-p-c-
| 2,012
|
menswear
|
fall
|
A.P.C.'s Louis Wong, a spokesperson for the design team, often stays close to home when seeking inspiration. "We actually look at a lot of people in the Sixth," Wong said at today's presentation in the company's Rue des Saints-Pères showroom. "They're traditional bourgeois but a bit arty. Their clothes are always a bit down at the seams, not perfect." That said, the Fall collection ventured slightly further afield than the Left Bank, to traditional English hunting gear. Wong went straight to the source for bona fide Harris tweed, cut into a leather-trimmed cape and car coat with matching skirts. Tartan flannels, meanwhile, got an upgrade into A.P.C.'s sweet, sixties-ish shapes.In menswear, the reference stayed typically neat and narrow, even with the comfortable slouch of a flannel shirt or a shawl-collared sweater with khakis and gum-soled boots. As the collection cycled through slim suits to cable knits and parkas, the look was consistent: rumpled but quite dapper. "It's a typical A.P.C. collection," said Wong. "Lots of old French movie references." Fittingly, Catherine Deneuve had stopped by earlier to see her friend Jean Touitou, while the spirits of Belmondo and Delon drifted lightly through the air like smoke from a Gauloises.
|
Meenal Mistry
|
March 4, 2012
|
Jean Touitou
|
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|
Jean Touitou
|
Jean Touitou
| 0
| 119
|
||
A P C
|
fall-2013-ready-to-wear
|
https://www.vogue.com/fashion-shows/fall-2013-ready-to-wear/a-p-c-
| 2,013
|
ready-to-wear
|
fall
|
Maybe it was because we caught him in the third hour of a three-hour presentation, but A.P.C.'s always-opinionated Jean Touitou was in boisterous form today. Few things escaped his judgment. Not the current state of fashion shows: "Just one-off pieces and party dresses, no ready-to-wear," he said. Not shoes: "Women's feet are too much massacred." And not "the Frogs," as he called French men, "who have a bad reputation with sex." He had an answer for all of it with this concise 24-look lineup.To redress the one-off situation, Touitou showed a trio of slim, slightly mod single-breasted coats. This is a winter collection we're talking about, after all. For women's poor feet, he collaborated with Nike on new sneakers. These were meant to channel American, specifically New York City, girls in the eighties, who wore running shoes to work. America is a current fixation; in the mix was a simple white sweatshirt proudly proclaiming "USA." French men, Touitou seemed to suggest, might be irredeemable. In the meantime he's hoping French women can wear A.P.C.'s one-shoulder shift designed by Vanessa Seward without being catcalled in the street. We're right there with you, Jean.
|
Nicole Phelps
|
February 27, 2013
|
Jean Touitou
|
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|
Jean Touitou
|
Jean Touitou
| 0
| 120
|
||
A P C
|
fall-2013-menswear
|
https://www.vogue.com/fashion-shows/fall-2013-menswear/a-p-c-
| 2,013
|
menswear
|
fall
|
The Collected Wit and Wisdom of Jean Touitou deserves a hardcover printing, if not its own reality show. The A.P.C. founder took the stage to give a viva voce exposition on his new collection—reluctantly, he gruffly claimed. "I have to, because no one is in a bikini," he said. "It's not very spectacular. We need to make it exciting." He had no bones about airing his grievances about the state of contemporary menswear, nor about naming names of the gravest offenders. (Names redacted to protect the innocent.) "Straight guys look like gay guys from five years ago," he opined. Gay men of 2008, this is not a compliment.The overall aesthetic of A.P.C. doesn't change much. It's rooted in jeans and a Gallic spin on preppy, though Touitou was parsing the difference between American prep and English prep, favoring the latter because the Americans aren't reverent or classical enough. In fact, it was hard to see anything but an American smirk in a sweatshirt emblazoned VARSITY, worn by a kid who mightjustbe a welterweight soaking wet, or a leather and canvas golf bag that converts into a backpack. ("Golf should return to chicness," Touitou pronounced.) The show cycled through a section that drew on military garb, like a camouflage field jacket, and one that he said was for bankers—or the way he'd like bankers to dress. "Sometimes, you meet bankers in the morning and you thinkwhat planet am I living on?" One banker wore a casual double-breasted jacket and tie, but the even richer one (as he imagined him) wore a check shirt and leather jacket. Ka-ching!A.P.C.'s ambitions skew more wardrobe than fashion, but that's the source—rather than the undermining—of its appeal. And itistiptoeing toward more refined fare, in the form of a capsule collection, Louis W, by the co-designer of A.P.C.'s mainline, which for the moment comprises only leather, suede, and sheepskin jackets. In the future, who knows. For his part, Touitou is more interested in applying himself to the Big Issues as sweating his status. "I'm not comfortable with the knot," he said of shoelaces. "I recommend we find a solution."
|
Matthew Schneier
|
January 18, 2013
|
Jean Touitou
|
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|
Jean Touitou
|
Jean Touitou
| 0
| 121
|
||
A P C
|
spring-2013-ready-to-wear
|
https://www.vogue.com/fashion-shows/spring-2013-ready-to-wear/a-p-c-
| 2,013
|
ready-to-wear
|
spring
|
Jean Touitou is celebrating A.P.C.'s 25th anniversary this year, but he's still as hands-on as ever. This morning, he personally narrated the label's modest presentation of 16 looks at its newly renovated sixth arrondissement headquarters. A huge, curving vintage leather couch was trucked in for the appointments, which was fitting because, as Touitou explained, the clothes were inspired by a German nanny "sometime in the seventies who doesn't mean to be sexy but is."The lineup was typical A.P.C.: denim on denim, cheeky jumpsuits, printed halter dresses, flat gum-soled sandals, all vaguely retro but still right on the money. A jean jacket with a little kick at the hem worn with a matching pencil skirt had some admirers, as did a pair of high-waisted jeans. Vanessa Seward's collaboration with the brand has expanded, and her prints added to the winsome feeling.
|
Nicole Phelps
|
October 3, 2012
|
Jean Touitou
|
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] | 0
|
Jean Touitou
|
Jean Touitou
| 0
| 122
|
||
A P C
|
fall-2014-ready-to-wear
|
https://www.vogue.com/fashion-shows/fall-2014-ready-to-wear/a-p-c-
| 2,014
|
ready-to-wear
|
fall
|
Jean Touitou's past loves and lusts were the muses of A.P.C.'s new Fall collection. Who's his type? As usual, Touitou didn't spare any details as he presented the lineup at his Left Bank headquarters this morning. When he emigrated from Tunisia, he said, it was easy to fall for Frenchjeunes filleswith their printed blouses, shirtwaist dresses, and trench coats, all of which made appearances here. Schoolgirls in uniforms were even better, which explains the preponderance of collared shirts buttoned up to the neck and trim skirts, as well as a very American-looking wool and leather varsity jacket. These days, Touitou still likes a woman in uniform. In fact, he was lamenting that EasyJet seems to employ only male stewards, because he's always had a thing for airline hostesses. "Something about them makes me happy," he offered. Hence the solid dresses worn over printed blouses and the printed scarves tied jauntily at the neck. Discussing the leather rain boots he paired with both a printed denim jumpsuit and a peacoat and marinière shirt combo, Touitou revealed that A.P.C. has gotten into the tanning business because of leather shortages across Europe. "The big groups are grabbing all the skins."That wasn't the only critique he lobbed in the direction of fashion's superpowers. Railing against the drive for ever bigger fashion shows, grand spectacles with the fancy clothes to match, he said, "Everyone else is doing couture; I prefer something more easy." Touitou's tastes are fairly archetypal. That's a good way to think about A.P.C.'s clothes, too. They're classic, but they're not average.
|
Nicole Phelps
|
March 3, 2014
|
Jean Touitou
|
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] | 1
|
Jean Touitou
|
Jean Touitou
| 0
| 123
|
||
A P C
|
fall-2014-menswear
|
https://www.vogue.com/fashion-shows/fall-2014-menswear/a-p-c-
| 2,014
|
menswear
|
fall
|
Unlike most fashion presentations, A.P.C.'s have the force of an art happening. This season's became officially must-see when word got out that in addition to founder Jean Touitou's usual narration of his seasonal obsessions, Kanye West would be on hand to offer an explanation about his ongoing collaboration with the French brand. (Rumors that his fiancée would be present added to the excitement but proved to be unfounded.) The prospect of two of fashion's most unedited orators holding forth was a tantalizing one. There's probably a profitable second career for each stumping on the lecture circuit.Touitou spoke first. He has embraced his role as a kind of grizzledprofesseurof style, and his address, illustrated by a few rounds of models in A.P.C.'s Fall collection, was a disquisition on elegance. He summoned the spirits of four men he considers paragons of the form: Yves Saint Laurent (for his own style in this case, not his collections), Marcel Proust, Kurt Cobain, and Marc Jacobs (pre-mid-career gymnification). Saint Laurentian elegance had a proper, shirt-and-tie expression, though one tunic look suggested his North African adventures. Touitou even commissioned the makers of YSL's iconic glasses, Maison Bonnet, to produce a few similar rectangular styles for A.P.C. Proust was represented by fur-trimmed coats, and Jacobs and Cobain, twin pillars of grunge, inspired ripped jeans and flannel overshirts worn loose. "Marc had his own style before he became a yoga star," Touitou said. "I have this nostalgia for Marc. He looked like a teacher of semiology in Princeton, New Jersey." Despite the jeans here, one of the key takeaways of the presentation was Touitou's injunction to not wear denim more than one day out of every two. "I call this the fight for your right not to wear jeans."When West arrived to speak, wearing a Thom Browne shirt he'd customized by cutting off the sleeves and collar, he assumed the role of humble student to Touitou's prof. "I have a really poor fashion education, because when I went to Louise Wilson and asked to go to Central Saint Martins, she told me I couldn't go to the school," he told the crowd. Professor Wilson apparently felt he was too famous to enroll. "So basically," West continued, "I had to learn about clothes through Style.com and Tommy Ton and shit like that."
|
Matthew Schneier
|
January 17, 2014
|
Jean Touitou
|
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] | 1
|
Jean Touitou
|
Jean Touitou
| 0
| 124
|
||
A P C
|
spring-2014-ready-to-wear
|
https://www.vogue.com/fashion-shows/spring-2014-ready-to-wear/a-p-c-
| 2,014
|
ready-to-wear
|
spring
|
A.P.C.'s Jean Touitou doesn't lack for opinions. His Paris presentations are must-sees for the frank way in which he rails against the fashion system and current trends. People grab a coffee, plop themselves down on the couch, and settle in for some real talk, not to mention, of course, a chance to see the label's new clothes. Today, Touitou had two big gripes. To begin, designers are showing couture, not ready-to-wear. "Fashion is not only about celebrity and finance," he said, alluding to the big production shows for which Paris is famous and the front-row types whom they attract. "It's also about proportion and styling." His second point was about his distaste for extreme sexiness. "To be dressed, you don't need to be high in the sky in heels," he continued. "My whole purpose is to sex down things."Put those ideas together and you'll get a pretty good picture of what A.P.C. has on tap for Spring. Dresses in chambray, denim, or broderie anglaise-trimmed white linen fell in A-line shapes to the mid-thigh, and there were shirtwaist styles in microprints. None were un-sexy, but they weren't obviously come-hither, either. A quartet of jumpsuits followed. Touitou called them "an obsession" on his part and that of his customers. The best came in a nice shade of cargo green. And for the beach, or those moments when you're returning home and don't want to kill your weekend buzz: easy separates like high-waisted shorts or a popover top with djellaba detailing from A.P.C.'s ongoing partnership with Vanessa Seward. All of it came out on flat vegetable-dyed leather sandals or very manageable heels. Touitou practices what he preaches. He also managed to deliver the feel-good moment of the week when three young kids danced out in pieces from a new A.P.C. collaboration with Bon-Ton.
|
Nicole Phelps
|
September 30, 2013
|
Jean Touitou
|
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|
Jean Touitou
|
Jean Touitou
| 0
| 125
|
||
A P C
|
spring-2014-menswear
|
https://www.vogue.com/fashion-shows/spring-2014-menswear/a-p-c-
| 2,014
|
menswear
|
spring
|
For his Spring fashion presentation-cum-keynote-address, Jean Touitou gave a tour through recent history. "Fashion rewrites the past in a very subjective way," he declaimed, and in a series of vignettes, he explained his new men's collection, filled out by readings from Bret Easton Ellis and the French writer Guillaume Dustan. Briefly, a selected chronology:The early eighties. "Drugs were important at this time. It was very dramatic when people switched from heroine to cocaine and orange juice. Drug addicts had a fetish about knitwear."Fashion takeaway: A.P.C. geometrically patterned intarsia sweaters. Key references: French punk band Stinky Toys (1976-1979).The eighties look at the fifties. "A vision of the fifties with Italian bad taste."Fashion takeaway: A.P.C.'s leather bomber with linen sleeves, from the high-end Louis W. outerwear collection; a mechanic's jumpsuit in wool/linen.And a few key movements in the history of style, as named, identified, and continued by APC:Anti-relaxed relaxed: "It's the way a serial killer would be casual. Serial killers are very particular about their details."Fashion takeaway: A.P.C. cotton short shorts in black (basic) and paisley (compellingly dandy); striped sweaters.Preppy queerness: "Well-dressed, but with a little extra—a print that should not be there. Flirting dangerously with Italian bad taste."Fashion takeaway: A.P.C. Liberty floral shirt with chinos. Leopard-print T-shirt with bomber jacket.Invisible dandyism: "The exquisite moment when we prove that we are still very boring."Fashion takeaway: A.P.C.'s ever-perfect jeans, and all items with details so minute only the wearer or the very well-trained eye will spot them. Key references: Bret Easton Ellis.And a new collection: the debut of a T-shirt range designed by Mathias Augustyniak and Michael Amzalag of M/M Paris, A.P.C.'s former art directors until a dispute rent the partnership asunder for some eight years. ("We're family, but we fought," Touitou said. "It was friendly—and violent.") Now the three are back together. M/M designed a new font for the occasion, with which it spells out some possible meanings of A.P.C. ("A Perfect Chick," "Another Pure Cheeseburger"). But the shirt that spells out JEAN does it with a graphic of tiny dogs—or, Touitou announced, as you'd call them in French,toutous.
|
Matthew Schneier
|
June 28, 2013
|
Jean Touitou
|
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|
Jean Touitou
|
Jean Touitou
| 0
| 126
|
||
A P C
|
fall-2015-ready-to-wear
|
https://www.vogue.com/fashion-shows/fall-2015-ready-to-wear/a-p-c-
| 2,015
|
ready-to-wear
|
fall
|
Jean Touitou shared A.P.C.'s origin story at the brand's presentation in its Left Bank headquarters this morning. It involves a 1987 trip to Barcelona, lost luggage, and a futile search for good jeans and nicely proportioned sweaters to wear on his vacation. Twenty-eight years later, he's got Kanye West sitting on the studio's vintage Pierre Paulin couch. To develop the new Fall collection, Touitou and his team went back to the vault to rediscover what the label stands for. A PR rep today was handing out visual aids: key rings full of postcards featuring advertising images dating from 1992 (Stella Tennant) to 2013 (Edie Campbell).The A.P.C. aesthetic has always been an honest, straightforward one. Jeans, of course, are essential. Touitou showed the raw denim he introduced back in '87, and since what goes around comes around, it looked as relevant now as it did then. What looked even better were the faded and fraying skinny jeans the company sells through its Butler program, wherein it washes and rehabs pre-owned A.P.C. raw denim, and resells it back to customers willing to pay extra to let somebody else do the hard work. Worth every penny. This being a Fall collection, there was a fair amount of coats, all paired with the brand's new sneakers: double- and single-breasted in classic shades of camel, charcoal, and red; herringbone and check; a faultless raincoat. "We will never be done working on the trench," Touitou said. "Minimalism is not simple." Maybe not for the design studio, but to A.P.C. shoppers, the just-a-bit-tight black sweater and the above-the-knee A-line skirt shown with it will look like a sexy no-brainer of an outfit when the pieces arrive in stores.
|
Nicole Phelps
|
March 11, 2015
|
Jean Touitou
|
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Jean Touitou
|
Jean Touitou
| 0
| 127
|
||
A P C
|
fall-2015-menswear
|
https://www.vogue.com/fashion-shows/fall-2015-menswear/a-p-c-
| 2,015
|
menswear
|
fall
|
Can a brand ever use the N-word to sell clothes? The answer, surely, is absolutely not. Who would ever suggest it? Well, Jean Touitou, the founder of A.P.C., did today at a Fall presentation that was full of tasteful menswear but stretched the boundaries of appropriateness.As he opened his live narration of the collection, Touitou told us this: "Being both a creative genius and making clothes that can be worn are two different jobs, two worlds apart. One can't at the same time do things right and bother with headlines and spotlight exposure." Touitou clearly—and rightly—counts himself as a maker of excellent, wearable clothes. And yet after promising during his first set of four looks, "I won't deliver a big shock," he then went on to do just that. Touitou ushered in a quartet of models wearing three different cuts of a camel overcoat and one check, all matched with gray sweatpants and A.P.C.-designed Timberlands. Then he held up a sign that said, "Last Ni##@$ IN PARIS," and gave us this exposition: "I call this one look Last Ns in Paris. Why? Because it's the sweet spot when the hood—the 'hood—meets Bertolucci's movieLast Tango in Paris. So that's 'Ns in Paris' and Last N****s in Paris. [Nervous laughter from audience.] Oh, I am glad some people laughed with me. Yes, I mean, it's nice to play with the strong signifiers. The Timberland here is a very strong ghetto signifier. In the ghetto, it is all the Timberlands, all the big chain. Not at the same time—never; it's bad taste. So we designed Timberlands with Timberland…" And on he went. Touitou likes to be irreverent. But what he said here seemed ill considered, at the very least.Contacted by e-mail afterward, Touitou clarified his position, that sign, and that speech by saying: "One hip-hop song is called 'N***** in Paris.' One movie is called 'Last Tango in Paris.'"I made looks which are a cross-over of those two references: the Timberland shoes and the sweat pants are iconic of hip-hop, and the camel hair color coat, worn with nothing under it, is iconic of that precise movie. I am friends with Kanye [West, who recorded "Ni**as in Paris" with Jay Z], and he and I presented a joint collection at the same place, one year ago, and that this thing is only a homage to our friendship. As a matter of fact, when I came up with this idea, I wrote to him, with the picture of the look and the name I was giving to it, and he wrote back immediately saying something like, 'I love this vibe.'"Hmm. Even with Kanye's permission—and that more fully expressed exposition—Touitou is swimming in perilous waters.Editor’s note: Touitou subsequently issued an official statement apologizing for his remarks. Read the full texthere.
|
Luke Leitch
|
January 24, 2015
|
Jean Touitou
|
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Jean Touitou
|
Jean Touitou
| 0
| 128
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||
A P C
|
spring-2015-ready-to-wear
|
https://www.vogue.com/fashion-shows/spring-2015-ready-to-wear/a-p-c-
| 2,015
|
ready-to-wear
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spring
|
Fashion shows are about so much more than clothes today. In front of a crowd of thousands or in a showroom with barely enough room for a hundred, they're instant branding campaigns in our social media age. Karl Lagerfeld had bullhorns and protest posters at Chanel this morning. It was a classic case of co-optation, but cleverly done. A.P.C.'s Jean Touitou, who went up an hour later, had a placard of his own: "Fashion changes, being itself begotten of the desire for change," it read. Touitou has never been short on words, but he didn't say that first. Marcel Proust did. And Touitou's point wasn't that this season's A.P.C. collection would be so very different from last season's; that's not the business A.P.C. is in.What Touitou was getting at with that little line fromSwann's Way, we suspect, is that A.P.C. is the thinking woman's and man's fashion brand. A maker of essential clothes, rather than frivolous ones. Just don't call thembasics—Touitou hates that. A.P.C.'s Spring essentials are just about what you'd expect, then: khaki trenches and red ones, LBSDs (i.e., little black smock dresses), shirtdresses in prints by the artist Pierre Marie (back for a return engagement), a great-looking fatigue green jumpsuit, and of course, denim—but soft and washed, not the raw, dark rinses we're all familiar with from A.P.C.'s stores. Touitou brought Vanessa Seward up in front of the crowd. Spring '15 will be her last capsule offering for the brand, but she's not going far. She'll launch a collection of her own with A.P.C.'s help in March. Another thinking woman's fashion brand? We'll take it.
|
Nicole Phelps
|
September 30, 2014
|
Jean Touitou
|
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Jean Touitou
|
Jean Touitou
| 0
| 129
|
||
A P C
|
spring-2015-menswear
|
https://www.vogue.com/fashion-shows/spring-2015-menswear/a-p-c-
| 2,015
|
menswear
|
spring
|
"This is not the house of normcore," Jean Touitou announced to the captive audience at his A.P.C. presentation. "I'm done with minimalism. And here's the hard-core styling to prove it to you."Hard-core? Touitou is an orator, spinning words for effect. There was nothing in his selection of Spring looks to unsettle or provoke, but his words were something else. "I wanted to restyle the mid-eighties to mid-nineties, the Armani years which I hated so much." Touitou's antipathy to Armani was founded in his own love of English tailoring. "Armani was the inverse of that. But when I look at it now, I like theintentionof the styling. And I can look on the Armani years with some kind of tenderness."So, honoring Touitou'sownintentions, we could then look at the clothes through his eyes, with his entertaining commentary to clarify. The looks he described as "the rich kid from Portofino or the Paninari pretty boy," for instance, with sweaters knotted round their necks. "I love it when young men eroticize themselves and are trapped by their own reflection," Touitou elaborated. "I now appreciate what I previously perceived as the arrogance of spoiled brats."Same thing with the new A.P.C. denim. Invoking Charles Hix, eighties arbiter of male style and major Armani booster, on how to wear denim as a WASP. "WASP jean styling is not casual," Touitou claimed. "We want to free jeans from the normcore hipster generation." The denim looked smart but not particularly revolutionary.Still, you could listen to Touitou all day. Zinger after zinger, combined with a ravening curiosity that couched the ordinary in unusual terms. Protégé Louis Wong closed the show with five bomber jackets that told, he said, "a story about escape." Nice enough, but more meaningful as a reflection of Touitou playing catch-up with techno music, club culture, gay culture. The music for his presentation was taken from a mix-tape made by a distant cousin, Guillaume Dustan, a gay writer and journalist who overdosed in 2005. His portrait hung on the studio wall. This was not the house of normcore.
|
Tim Blanks
|
June 28, 2014
|
Jean Touitou
|
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] | 1
|
Jean Touitou
|
Jean Touitou
| 0
| 130
|
||
A P C
|
fall-2016-ready-to-wear
|
https://www.vogue.com/fashion-shows/fall-2016-ready-to-wear/a-p-c-
| 2,016
|
ready-to-wear
|
fall
|
A.P.C., a fixture on the Paris schedule, presented today in New York. The reason to hop the pond is straightforward: Jean Touitou’s French company has partnered with an American one, Tyler Haney’s Outdoor Voices. The collaboration is Touitou’s claim to a piece of the athleisure pie. Smart move. Outdoor Voices’s understated aesthetic jibes with A.P.C.’s. In fact, with its subdued colors and absence of pattern, it could almost be French. Touitou’s tweak was to show pieces from the range with street shoes, not sneakers. Ballerina slippers accessorized leggings, and sweatpants were tucked into knee-high boots with a chunky low heel, an unlikely idea that actually worked.Touitou happens to be quite fixated on footwear at the moment. As the models came out in groups of three, he talked about the scrunchie socks he showed with sandals. “I find it very sexy; that’s what I’m trying to do, design clothes for a woman I would be seduced by.” Stilettos (sexy-sexy) may be stomping back into vogue, but you’ll never see them at this label. (Touitou prefers an unsexy-sexy vibe.) As for the clothes, they hew to the familiar A.P.C. formula of effortless French cool. A couple of highlights: a violet Shetland wool crewneck worn with a Bordeaux corduroy skirt in the collection’s almost-midi length, an undyed sheepskin jacket that rendered this week’s OTT shearlings a bit silly and desperate, and sexy-cute denim overalls. Touitou added a new cut of jeans to the A.P.C. canon. Full through the leg and cropped halfway down the calf in the brand’s signature raw denim, they looked right on over the knee-high boots.
|
Nicole Phelps
|
February 16, 2016
|
Jean Touitou
|
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|
Jean Touitou
|
Jean Touitou
| 0
| 131
|
||
A P C
|
fall-2016-menswear
|
https://www.vogue.com/fashion-shows/fall-2016-menswear/a-p-c-
| 2,016
|
menswear
|
fall
|
Would you have noticed the dimple in the tie? Jean Touitou was pointing to a knit version in pink clay worn by a long-haired model a few feet away. The brand’s opinionated founder fell into the small talk apropos of President Barack Obama, whose dimple he finds “too corporate” with not enough “poetry.” One wonders if Keats ever perceived the chiaroscuro within a sartorial crevice. From there, one might also wonder whether we gravitate toward clothes without truly appreciating them. AndA.P.C.offers much to appreciate, mainly because Touitou is a stickler for detail. In one instance, the first sample of red wool intended for a coat wasn’t stiff or dry enough for his standards (here, one must wonder how he likes his martinis: “Don’t get me started,” he replied). Still, he seemed particularly pleased about the contributions from prolific young graphic designer Pierre-Marie: a puzzle pattern of paisley clusters and a trippy knit jacquard. Of the plaid pant, Touitou said, “It’s as perfect as it could be.”The capsule collection of outerwear from A.P.C. codesigner Louis Wong (better known as Louis W.) deserved equal appreciation. Whether the motorcycle, painted shearling, or boiled wool chesterfield, there was no weak link—except, perhaps, when he mentioned being inspired by the Paris protests of 1968.As a principle, A.P.C. eschews seasonal themes, yet Touitou did note an English eccentric inflection in the final styling of each look—from the knit tartan jacket right down to the molded leather key covers suspended from belt loops. In the past, he may have engendered appreciation for these details via a presentation spiel. While the format was scrapped, the convictions endure. When a guest praised the collection as “casual,” Touitou shot back, “I don’t find it casual at all; I find it very sophisticated.” And you know what? He wasn’t wrong.
|
Amy Verner
|
January 22, 2016
|
Jean Touitou
|
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|
Jean Touitou
|
Jean Touitou
| 0
| 132
|
||
A P C
|
spring-2016-ready-to-wear
|
https://www.vogue.com/fashion-shows/spring-2016-ready-to-wear/a-p-c-
| 2,016
|
ready-to-wear
|
spring
|
“They call me the king of basics,”Jean Touitousaid with a laugh at theAPCpresentation today. Kingliness is one thing, but the basics bit has lately proved irksome to Touitou. He decided to do something about it this season, starting by making a capsule offering of little black dresses. It’s an item whose APC time has come. Past due, even. There are few things more essential to a French woman’s wardrobe than an LBD, after all. Touitou used black silk crepe, a first for him, he admitted, but he insisted the silhouettes remain quite simple, ensuring they stayed close to the spirit of the brand. A long tube dress was cut on the bias so it glided over the body without gripping it, and the excess material on a shorter one became a cape-like sash to wear loose behind the back or wrapped around the shoulders. A third one, cut on the grain and featuring a single leather shoulder strap, was a favorite of the editors passing through the company’s Rue Madame headquarters.Amidst the boy-cut denim pieces, the overalls, the smocks, and the well-cut trench that rounded out the collection, the other news was a shoulder bag made from molded vegetable-dyed leather. It had a great saddlebag shape, but the novelty wasn’t how it looked or what it felt like; it was in the fact that it will be available for sale right away, not months from now. Despite inroads by a few brands, fashion seems stubbornly resistant to the see now/buy now concept, and the missed opportunities just keep multiplying. Good on Touitou and team APC for figuring this project out.
|
Nicole Phelps
|
October 3, 2015
|
Jean Touitou
|
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|
Jean Touitou
|
Jean Touitou
| 0
| 133
|
||
A P C
|
spring-2016-menswear
|
https://www.vogue.com/fashion-shows/spring-2016-menswear/a-p-c-
| 2,016
|
menswear
|
spring
|
Jean Touitou obviously appreciates that the strength of his A.P.C. collections is their functionality. They're not about the planned redundancy of shifting trends. But he also knows that he has to sell these clothes. They wouldn't sustain the glare of a catwalk spotlight, so Touitou shills on their behalf like a tent show hawker, spinning a story for a string of small audiences, making himself the embodiment of the A.P.C. ethos. This season, for instance, he described himself as a former "militant revolutionary" who replaced Marxism with "existentialist rock 'n' roll." So he took us on a trip through his record collection."Music production is like fashion production," said Touitou, as he hit the first track, Jonathan Richman's "I'm Straight." "Constructing and deconstructing sound is like what a fashion designer does, making something exciting with boring elements." He chose the Richman song because a prettystraightsong was transformed by the addition of a weedy Farfisa organ, in the same way that a twisty little detail animates a prosaic outfit.Each track that Touitou played was accompanied by six models. If it was hard to see exactly what the first group's Farfisa equivalent was, the second group was done up in neat, tidy New Wave looks—white jean jacket, red turtleneck, blue pants—that fit the ticktock crispness of Marie et les Garçons' "Re-Bop Attitudes." "It was on the jukebox at Max's Kansas City," said Touitou, which was exactly the kind of detail that would make him love a piece of music.Then came Blondie's "Heart of Glass," accompanied by a Lurex sweater, a leopard-print shirt, and a straight-out-of-the-'80s blouson. Touitou introduced it with a story about producer Mike Chapman transforming a song that was originally a slow burn into a disco stomper by adding the demo beat of an early drum machine called the CR78. "The same way that fashion rewrites the past." And the same way that Neil Young turned a '50s rock 'n' roller called "Farmer John" into a slashinggeetartrack for the penultimate passage. Plaid shirts, cargo pants, overalls, and a khaki parka for that one. "In men's fashion, we're always looking for an excuse to show denim and khaki."The presentation, eclecticism incarnate, ended with a burst of Pet Shop Boys for Touitou protégé Louis Wong's poppy finale. You could understand why there would be people who might find the whole situation a little too oblique, but Touitou is a full-service one-man show. A little entertainment, a little education, a little enlightenment about Spring 2016 at A.P.C.
|
Tim Blanks
|
June 27, 2015
|
Jean Touitou
|
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|
Jean Touitou
|
Jean Touitou
| 0
| 134
|
||
A P C
|
fall-2017-ready-to-wear
|
https://www.vogue.com/fashion-shows/fall-2017-ready-to-wear/a-p-c-
| 2,017
|
ready-to-wear
|
fall
|
I got to knowA.P.C.in the summer of 1996 when I fell for a simple white button-down in the pages ofWmagazine, where I had just landed my dream job: calling in fashion credits for the well pages! By then, A.P.C.’s Mercer Street store was open in New York City, and the company was going on 10 years old. By A.P.C. standards—Jean and Judith Touitou celebrated the brand’s 30th anniversary tonight in Paris—I’m practically an arriviste. 1987, the mid-’90s, 2017 . . . the rule book hasn’t changed. Now, as ever, the label has its standards, not just the raw denim it’s known for, but also jean jackets, simple white shirts, wedge sandals, fashionably practical boots.How do you critique a line that has wavered so little, with founders that have remained so resolute? Do you take a survey of the front row? This season it included quite possibly the most famous French woman of all, Catherine Deneuve, who showed up with her dog. Do you base it on Jean’s always erudite speech? Tonight, he quoted Balzac’s novellaSarrasine. Do you go on the fact that the Chambre Syndicale finally gave the label an official spot on the Paris Fashion Week calendar? After three decades. Or do you keep it simple, and make the clothes the thing?The clothes are simple (and affordable) and therein lies their beauty. Jeans got a lighter wash and a shorter leg, but were long enough to partially tuck into perfect bordeaux leather boots. Jean jackets played the part of shirt (tucked into jeans) and accessory (knotted in back behind the shoulder blades), and denim jumpsuits had a starring role. As for this season’s crisp white shirt; it was long enough to peek from the hem of a pelmet mini and keep things decent when paired with super-slouchy, used and rehabbed Butler jeans. There was a smart-looking Prince of Wales coat and a deep emerald green trench. And judging by the current vogue for logos and slogans, the Hiver 87 scarf is going to be a cult hit.At the beginning of the show Jean lodged a complaint about the current state of fashion, arguing that ready-to-wear is “not ready-to-be-worn anymore.” So, okay, maybe he fed us this line, but on the contrary, A.P.C.’s ready-to-wear really is.
|
Nicole Phelps
|
March 6, 2017
|
Jean Touitou
|
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Jean Touitou
|
Jean Touitou
| 0
| 135
|
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A P C
|
fall-2017-menswear
|
https://www.vogue.com/fashion-shows/fall-2017-menswear/a-p-c-
| 2,017
|
menswear
|
fall
|
Back in 1987, when Jean Touitou founded his fashion brand, did he believe he’d still be in business 30 years later? “No, because I thought the world would collapse in 2003, or something,” he replied. And now that A.P.C. has reached this point, does he feel much has changed? “I was trying to come up with the words; I think we are unnoticeable but remarkable.”The description was equally applicable to our surroundings: two floors below the A.P.C. store on Rue Royale, where a series of connecting rooms house the brand’s gigantic archive of garments plus miscellaneous accessories, quilts, and vintage music systems. In lieu of a show or formal presentation, Touitou invited guests to thumb through this color-coded treasure trove while discovering both the latest collection and a capsule edit of reissued pieces. In the beginning as Touitou’s attempt at non-branding, A.P.C. didn’t have a name aside from its season, so Hiver ’87 (the French word for winter) has returned as the message fronting shirts and scarves, bridging past and present.In general, Hiver ’17 didn’t much diverge from what’s come before, namely, classic corduroys, a pair of jeans with elasticized sides, subtly patterned knitwear (by Pierre Marie), sheepskin utility jackets from in-house designer Louis Wong, and denim separates the hue of Haussmann limestone. The accompanying photos, shot by Collier Schorr, exist outside of time or trend. Should this seem anticlimactic, it is also authentic to A.P.C. “I am proud of this history since we managed to remain relevant even if sometimes boring,” Touitou wrote in a letter to mark the milestone. “I am actually even proud of this boring factor, since it had so many different aspects over time.”Touitou, whose outspoken opinions make him a refreshing voice in fashion, suggested that integrity is as important as ever. “You keep your beat,” he advised. “There’s so much uncertainty in the world, it’s better to be safe.” Not no-fun safe, though, as made clear by the irreverent words on the lanyard attached to the new molded pochette: “I want to drink it straight, no chaser.” And on that note, cheers, A.P.C.!
|
Amy Verner
|
January 20, 2017
|
Jean Touitou
|
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Jean Touitou
|
Jean Touitou
| 0
| 136
|
||
A P C
|
spring-2017-ready-to-wear
|
https://www.vogue.com/fashion-shows/spring-2017-ready-to-wear/a-p-c-
| 2,017
|
ready-to-wear
|
spring
|
Jean Touitou and co. swapped their familiar showroom venue for a presentation at what he described as a strip club for the “work council” set. TheA.P.C.founder has a way with words, but he kept them brief this season. He’d invited people not only to see the new collection but also to dance; it was to be the first of a series of parties here in Paris and possibly elsewhere. In any case, an LED screen onstage got his message across. The first one, “Simplicity is the result of a very long simplification process,” was uttered by the late French philosopher Gaston Bachelard, and Touitou finds it personally relevant. “I believe I’ve been doing nothing but that for 30 years,” he said, then he stepped aside to let the models do their stuff.Tonight that meant dancing, not posing. One-by-one or in pairs, the models emerged from behind a curtain, did a little shimmy, then retreated. It ranks up there with the most charming moments of the season. What a revelation to discover that some of these genetically blessed teenagers have no rhythm. As for the clothes, the “Hysterically Normal” section featured abbreviated cotton and leather polo dresses and the “Naively Sexy” group included engineer striped overalls, and a yoked button-down with an A-line skirt, while navy pieces, including a hooded raincoat and a dress worn over tapered pants, filled out the “Intellectual Therefore Erotic” category. The verdict: completely as advertised. Naturally, there was also denim; it came in a wash so light it was almost white.No big concept, but that was the point. A nice pair of jeans, a drink, a groovy dance session—yes, yes, yes.
|
Nicole Phelps
|
October 1, 2016
|
Jean Touitou
|
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|
Jean Touitou
|
Jean Touitou
| 0
| 137
|
||
A P C
|
spring-2017-menswear
|
https://www.vogue.com/fashion-shows/spring-2017-menswear/a-p-c-
| 2,017
|
menswear
|
spring
|
Given his track record of enliveningA.P.C.presentations with culturally and politically charged spiel, Jean Touitou was bound to have an opinion on Brexit. Simply put, he expressed no surprise. “We are entering a new loop in history, which is totally reactionary,” he said, hypothesizing that the U.S., France, and Italy might face similar fates. Was he concerned? “Oh yes, but I’ve been terrified from a long time ago, back when I was this age,” he replied, pointing to his T-shirt printed with a photo of a foxy Jean Touitou, aged 15.The two Touitous—then and now—provided an entry point into this collection, which will arrive in stores just as the brand enters into its 30th year. Its founder, meanwhile, recently reached the legal age of retirement in France. Leaving aside sentimentality, the milestones marked an opportunity to pay respect to the brand’s workwear DNA, which, Touitou rightly noted, has gotten better with age (more resources, more research). For example: Dungarees and a ribbed pullover were uniquely bleached and overprinted, respectively, to achieve an authentically lived-in look before ever being worn. Roomy jeans, ordinarily a tough sell, were justifiable when paired with a deep indigo, contrast-stitched postman’s jacket. Amid the continued trend toward graphic streetwear, a crisp mac over a shirt patterned in stylized propellers (care of graphic artist Pierre Marie) and a cable-knit tucked into high-waist denim made a compelling case against cool. The streamlined designs from Louis Wong, a member of the design team whose label, Louis W., exists under the A.P.C. umbrella (see the looks photographed against a white sheet), benefited from an updated spin on old-school hip-hop—specifically, an army blouson and drawstring pant in cotton sateen that could be mistaken for a leather tracksuit.On the subject of leather, guests could be heard posing, “What does it mean?” in reference to Brexit implications, while Touitou was showing this journalist a molded pochette known as aporte valeur—its literal meaning, an “asset holder” that can be worn around the neck. Without any grandstanding gesture, Touitou acknowledged the irony with amusement. “Before I would talk of anything, but not of fashion. Now it’s the editors who are shocked by the situation and don’t want to talk about fashion.” The times they are a-changin’.
|
Amy Verner
|
June 24, 2016
|
Jean Touitou
|
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Jean Touitou
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Jean Touitou
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| 138
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A P C
|
fall-2018-ready-to-wear
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https://www.vogue.com/fashion-shows/fall-2018-ready-to-wear/a-p-c-
| 2,018
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ready-to-wear
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fall
|
A phalanx of street style photographers clustered outside A.P.C.’s Rue Madame headquarters this afternoon. A quick glance suggested that there were almost as many people shooting attendees as attendees themselves. A.P.C. keeps a tight guest list, but it’s got an endless supply of cool factor. Jean and Judith Touitou come by it by appearing not to try hard (though running a global brand is doubtless very hard indeed), and by endorsing a similar kind of fashion: understated, simple, and anti-trend.The one nod to current tastes was the large white A.P.C. stamp on plaid handbags. You could almost see Off-White’s Virgil Abloh, who occupied one of the front row seats, nodding his approval. Is there a collaboration in the cards? Kanye did it. Leaving the speculating aside, this was a classic A.P.C. collection with one caveat: It was two collections, the women’s and the men’s. For the guys, the Touitous are proposing a widish pant and sweaters tucked into a belted waistline, and one surprise leather motocross suit peeled off to the waist to reveal another geeky-chic sweater. As for the ladies, the message was leggy. There were no pants or jeans for the female models, only skirts and dresses—mini, maxi, or in between. Of the three lengths, the midi drew the short stick. The thigh- and ankle-grazers looked fresher. Top marks for Marjan Jonkman’s elongated trench and butterscotch-y Western heeled boots.
|
Nicole Phelps
|
March 5, 2018
|
Jean Touitou
|
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|
Jean Touitou
|
Jean Touitou
| 0
| 139
|
||
A P C
|
spring-2018-ready-to-wear
|
https://www.vogue.com/fashion-shows/spring-2018-ready-to-wear/a-p-c-
| 2,018
|
ready-to-wear
|
spring
|
A.P.C. turned 30 this year. Founder Jean Touitou acknowledged the milestone by publishing a book.Transmissionis one part brand history, one part personal scrapbook; he’s headed to Tokyo and New York City next month to sign copies. Beyond that there was a T-shirt and a scarf that quietly declared Hiver ’87 (A.P.C.’s name before it had one) on the runway last season. As anniversary celebrations go, this is about as low-key as it gets in fashion, not that you’d expect much different. Touitou has railed against the ostentations of the French luxury labels on more than one occasion.Today’s presentation at the company’s Rue Madame headquarters was a reset. Not because customers demanded it—APC doesn’t stop opening stores—but because Touitou felt like it. Having specialized for decades in stiff (punishingly so, but the payoff is big) dark rinse denim, Touitou was now talking stonewashing and stretch. Not your prototypical skinny jeans though. Rather, he said, when he uses stretch it's “for the fall of the fabric and comfort.” Two examples: a belted safari jacket and a slim knee-length skirt. The bigger news here was what he called “de-couture jeans,” in which he deconstructed APC’s traditional dark rinse denim into a long wrap skirt, a shrunken vest, an ankle-skimming coat, and a cape printed with “The Flamin’ Grooves” on its back. As for this development, it’s so ubiquitous elsewhere that it’s probably an oversight that A.P.C. hasn’t done it before.The Flamin’ Grooves were ’70s San Francisco rockers who Touitou admired for their anti-hippie stance. “I stole a lot from them in the beginning,” he admitted. Here’s something that you can’t get anywhere else: the house founder performing a Velvet Underground tune mid-presentation.
|
Nicole Phelps
|
September 29, 2017
|
Jean Touitou
|
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] | 0
|
Jean Touitou
|
Jean Touitou
| 0
| 140
|
||
A P C
|
spring-2018-menswear
|
https://www.vogue.com/fashion-shows/spring-2018-menswear/a-p-c-
| 2,018
|
menswear
|
spring
|
Jean Touitou held this latest A.P.C. show in one of his stores and used his staff as models. First thought: He has attractive employees. Second thought: Way to save on production costs. Third thought: Guys will buy these clothes. This review could end right now, haiku-style, but there’s some benefit in knowing a bit more. The collection, for instance, was meant to be ‘80s/‘90s nostalgic for the non-millennial crowd. For those under 30, and in the context of today’s trends, the idea of wearing short-sleeved shirts over long, or baggier jeans might carry new, unfashionable cachet.When asked to unpack this direction, Touitou remained respectful. “I refuse to enter that contest of who’s going to have the brightest idea in the most crazy place,” he said, noting that these days, there’s little use in even trying. “You cannot make a revolution anymore; you just need to make things that sell so the world doesn’t collapse.”Still, for things to sell, they need to be essential, desirable, or both—and to the extent that you identify with a certain revisionist preppy style, this collection delivered all of the above. Luc’s windowpane jacket, Oskar’s tailored hickory stripe workwear, Linh’s school bus yellow pullover, Louis’s leather weekend jacket, and Corentin’s total look in dark chambray gave thoughtful consideration to day-in, day-out dressing. But as these throwback stylings whizzed around the boutique, other pieces were pitched as contemporary—namely an elongated windbreaker worn with bare legs and designer Louis W.’s capsule of blousons spliced with bands of South American patterning.Collaborations with graphic designer Pierre-Marie Agin and British jewelry designer Andrew Bunney yielded a nerdy jacquard resembling a obsolete video game background, and the A.P.C. logo button transposed as a sterling silver ring. These had a collectible aspect, though not nearly as much as the brand’s Butler jeans hand-painted by Touitou himself. He’s already exercised his inner Pollock with 100 pairs. Final thought: He could charge a lot for these.
|
Amy Verner
|
June 24, 2017
|
Jean Touitou
|
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|
Jean Touitou
|
Jean Touitou
| 0
| 141
|
||
A P C
|
fall-2019-ready-to-wear
|
https://www.vogue.com/fashion-shows/fall-2019-ready-to-wear/a-p-c-
| 2,019
|
ready-to-wear
|
fall
|
It was back to A.P.C.’s Sixth Arrondissement headquarters for its show today. The company’s large-format runway experiment was short-lived, but nobody seemed to mind the standing-room-only situation this afternoon. Jean Touitou, perched on a folding stool, gave a brief speech about the new collaboration series he’s calling Interaction. “After 44 takes of ‘While My Guitar Gently Weeps,’ none of the Beatles were able to make a guitar weep, so they called Eric Clapton to come to the rescue. This is how I feel when I work with other people, I’m happy to need the help of other people. Everybody does, but I’m happy to show it.”A.P.C.’s collaborators this season—Brain Dead, a Los Angeles–based streetwear brand, and Suzanne Koller, the house’s longtime stylist—represent the opposite poles of the brand’s universe. Brain Dead provided graphic hoodies based on the 1972 documentary,Future Shock, in which Orson Welles discusses how technology is moving too fast for humans to keep up. (And he hadn’t even heard of 5G!) Koller, the fashion director ofMmagazine atLe Monde, designed the collection’s long caftan-like black wool dress and an oversize parka that she teamed with a monochrome gray chunky sweater, fine-gauge turtleneck, wool trousers, and leather boots. During his speech, Touitou joked, “Maybe you can guess which pieces are hers.” For insiders, it was a no-brainer. A Kid Cudi collaboration is already in A.P.C. stores, and three more “interactions” are planned for the rest of the year, “not necessarily with people who belong to the fashion world,” Touitou explained.For decades A.P.C. has made essentially the same things: denim and wardrobe essentials like shirtdresses, jumpsuits, trenches, and, to paraphrase Koller, other “obvious classics.” (The Brain Dead–style graphic tees are a bit newer for the label.) Now, suddenly this season, non-fashion fashion of the A.P.C. variety has begun trending. Maybe it will be long-term—in this moment of excess, let’s hope it is. But even if it’s only temporary, Jean and Judith Touitou are very likely to keep on making straightforward pieces of good value. At the end of his speech, Touitou swapped George Harrison for George Orwell. “My conclusion is about what Orwell calls common decency,” he said. “I try to work in that direction.”
|
Nicole Phelps
|
March 4, 2019
|
Jean Touitou
|
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|
Jean Touitou
|
Jean Touitou
| 0
| 142
|
||
A P C
|
spring-2019-ready-to-wear
|
https://www.vogue.com/fashion-shows/spring-2019-ready-to-wear/a-p-c-
| 2,019
|
ready-to-wear
|
spring
|
For years Jean Touitou has held small presentations at A.P.C.’s Left-Bank headquarters. The espresso machine whirred and Touitou riffed to the crowd, which was intimate enough to squeeze onto a Pierre Paulin couch. All very much a family affair, season after season. That’s the attractive thing about A.P.C. Thirty-one years in, it remains an independent company (a shrinking resource in Paris and internationally) with a super-clear point of view (even rarer).So, why the big show for Spring? A typical Touitou bon mot: “To get bigger.” And an explanation: “You cannot be a player if you’re small. I decided to make the company twice bigger.” So, A.P.C. is in growth mode. The collection on the runway this afternoon reflected that more expansive approach, certainly in terms of color. Consider a turquoise coat with a matching sweater wrapped around the shoulders like a scarf, and the soft bubblegum pink leather pouch bag the model clutched in her hand.Silhouette-wise, Spring will look familiar to anyone who’s riffled through the racks of an A.P.C. store in the last few decades. Printed and solid shirtdresses for the ladies. Camp shirts and crewnecks for the dudes. Mackintosh coats for both genders. Naturally, there was an emphasis on denim. In keeping with the bigger production values of the show, there was hair and makeup. Both the boys and girls got rockabilly quiffs. In their reasonable, real-life clothes, they looked frankly, simply sexy. In fashion that happens far less frequently than it should.
|
Nicole Phelps
|
October 1, 2018
|
Jean Touitou
|
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|
Jean Touitou
|
Jean Touitou
| 0
| 143
|
||
A P C
|
fall-2020-ready-to-wear
|
https://www.vogue.com/fashion-shows/fall-2020-ready-to-wear/a-p-c-
| 2,020
|
ready-to-wear
|
fall
|
An email went out on Saturday morning: A.P.C. would be canceling its Monday afternoon show due to the spread of the coronavirus. That makes the brand an outlier among many others that have proceeded with business as usual even if it is anything but. Small designers are suffering as retailers cancel buying appointments to refocus their budgets on the bigger, surer things, and some fear that they may have to write off the whole season—or even the year. With its global store network that’s not this brand’s issue, and while the company’s caution is understandable, it does look like we missed an interesting A.P.C. show.At a photo studio deep in the 10th arrondissement, Jean and Judith Touitou presided over a look-book shoot. The ingredients were more or less unchanged from a year ago when they presented their collection in their Left Bank headquarters, but the styling had changed. The model in look 1 wore a pair of size 35 jeans—Jean’s own size, he said—in which the button and button hole were moved off center to accommodate for the extra fabric. She’s probably more like a 25. Boys got the same oversized treatment. On a back pocket, a white cardboard information label peeked out with washing instructions.For the record, Jean advises against putting the brand’s famous dark-rinse jeans in the freezer. If a cleaning is required, he’ll fill up a tub with water and use Savon de Marseille, which he calls a good, non-aggressive soap. (Hermès apparently does the same for its silk.) Most of the time the jeans were accompanied by a wool sweater, humble by elsewhere-in-Paris standards, but standard fare here. These were occasionally swapped out for a denim jacket or a denim shirt tucked into the jeans’ generous waistbands.Additionally, there was a smattering of printed midi-dresses and minis, which were accessorized with sweaters that were wrapped around necks like prodigious scarves. Where typically the Touitous show boots for fall, the shoe here was a strappy brown-leather flat sandal with a transparent rubber sole, worn with ankle socks. Jean remembered walking into the Café de Flore while sporting a similar footwear situation once upon a time and being looked at like “a desperate case.” The memory gives him particular satisfaction now, as does the fact that the rumor mill has Jean selling A.P.C. “I don’t want to, I don’t need to,” he said. “I have total freedom, I have a good life. I’m not 14 hours in the studio. No, no. I’m okay.” There you have it.
|
Nicole Phelps
|
March 2, 2020
|
Jean Touitou
|
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] | 0
|
Jean Touitou
|
Jean Touitou
| 0
| 144
|
||
A P C
|
spring-2020-ready-to-wear
|
https://www.vogue.com/fashion-shows/spring-2020-ready-to-wear/a-p-c-
| 2,020
|
ready-to-wear
|
spring
|
“The older I grow, the less subtle I want to be,” began Jean Touitou at his Spring A.P.C. show. He was speaking over a microphone in a courtyard on the Rue Cassette near his headquarters, with a 17-year-old DJ beside him and stalls debuting new collaborations with JJJJound, Carhartt WIP, and RTH around the perimeter. Some guests sipped A.P.C.-branded cold brew, others were corralled into blocked-off sections, and even more slouched on benches bobbing their heads and tapping their toes to the pop music playing. In its way, this was the A.P.C. equivalent of an experiential show—all the rage this season—but executed by someone more interested in community and joy than Insta-flash. After the show, Touitou said he was thinking about communist events in the ‘70s, raucous nighttime gatherings in city squares, and maybe about making a big joke about communists (and possibly capitalists too) along the way. But he promised that what ended up on the catwalk was not sinister but sincere.It always is at A.P.C., but especially this season. Touitou wanted to make a rebuttal against the ugliness and aesthetic brutalism of today’s world. This played out in bold summer colors and flippant little silhouettes. A tangerine swing coat, a pastel paisley minidress, and grass green dinette dresses and knits were some of Touitou’s brightest moments in recent history. He clashed this all together with quirky styling tricks, like thick knit socks, backpacks worn on the chest, and A.P.C. quilts held up like banners. The cleverness on the catwalk, amplified by a perfect dance-party soundtrack of Beyoncé, Jennifer Lopez, and David Bowie, was in funny contrast to the khaki- and navy-clad guests in the audience. Minimalism and purity of form are dogma at A.P.C., but as Touitou ages, his gestures are becoming easier and more free. On the backs of some pieces he had written slogans in a thick, all-caps font: RADICALLY MINIMAL, POSITIVELY NORMAL. In the grand scheme of style, A.P.C. is still essential daywear—positively normal—but now less strict, less serious, and with a little more poetry.
|
Steff Yotka
|
October 1, 2019
|
Jean Touitou
|
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Jean Touitou
|
Jean Touitou
| 0
| 145
|
||
A P C
|
fall-2021-ready-to-wear
|
https://www.vogue.com/fashion-shows/fall-2021-ready-to-wear/a-p-c-
| 2,021
|
ready-to-wear
|
fall
|
Signing on to BlueJeans, A.P.C.’s personalized video conference site, last Saturday, Jean Touitou was in his Paris kitchen, fresh from a recording session at the brand’s Left Bank headquarters. He and his kids and an A.P.C. staffer on drums had just recorded the James Brown hit “I Got You (I Feel Good)”as a promo of sorts for a big collaboration launching tomorrow (watch this space for news on the collaboration and Instagram, most likely, for the performance). The attraction of A.P.C is the way it remains a family business nearly 35 years after its founding and amidst so many more corporatized competitors.This collection came together under confinement when Touitou and his family were sheltering at a house that wasn’t theirs in the French countryside. He said he and his wife Judith conceived of it as a sort of “survival kit for this crazy situation, a mix of comfort and chic.” More broadly, he described their job as making un-boring basics. “I hate that word,basics,” he explained, “because it simplifies too much what we do. I’m glad we have all these collaborations—that’s the spicy part. But our own basics cannot remain the same all the time. What we started to do almost 35 years ago now has become a very common trend. The boring part has been taken care of by many, many brands.”It will look familiar to A.P.C. customers. There’s denim, of course, a lighter wash than usual; scuba sweats with brushed fleece on the inside; dressier pants that retain the drawstring waistband of those sweats; and a variety of outerwear. The star of the women’s offering is a zigzagging zebra-stripe fake-fur and wool coat—emphasis definitely on chic.
|
Nicole Phelps
|
March 9, 2021
|
Jean Touitou
|
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Jean Touitou
|
Jean Touitou
| 0
| 146
|
||
A P C
|
fall-2021-menswear
|
https://www.vogue.com/fashion-shows/fall-2021-menswear/a-p-c-
| 2,021
|
menswear
|
fall
|
Signing on to BlueJeans, A.P.C.’s personalized video conference site, last Saturday, Jean Touitou was in his Paris kitchen, fresh from a recording session at the brand’s Left Bank headquarters. He and his kids and an A.P.C. staffer on drums had just recorded the James Brown hit “I Got You (I Feel Good)”as a promo of sorts for a big collaboration launching tomorrow (watch this space for news on the collaboration and Instagram, most likely, for the performance). The attraction of A.P.C is the way it remains a family business nearly 35 years after its founding and amidst so many more corporatized competitors.This collection came together under confinement when Touitou and his family were sheltering at a house that wasn’t theirs in the French countryside. He said he and his wife Judith conceived of it as a sort of “survival kit for this crazy situation, a mix of comfort and chic.” More broadly, he described their job as making un-boring basics. “I hate that word,basics,” he explained, “because it simplifies too much what we do. I’m glad we have all these collaborations—that’s the spicy part. But our own basics cannot remain the same all the time. What we started to do almost 35 years ago now has become a very common trend. The boring part has been taken care of by many, many brands.”It will look familiar to A.P.C. customers. There’s denim, of course, a lighter wash than usual; scuba sweats with brushed fleece on the inside; dressier pants that retain the drawstring waistband of those sweats; and a variety of outerwear. The star of the women’s offering is a zigzagging zebra-stripe fake-fur and wool coat—emphasis definitely on chic.
|
Nicole Phelps
|
March 9, 2021
|
Jean Touitou
|
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Jean Touitou
|
Jean Touitou
| 0
| 147
|
||
A P C
|
spring-2021-ready-to-wear
|
https://www.vogue.com/fashion-shows/spring-2021-ready-to-wear/a-p-c-
| 2,021
|
ready-to-wear
|
spring
|
On a video call, Jean Touitou predicted that 2020 will “end up not as catastrophic as we thought at first” for brand A.P.C. Naturally, he had a theory as to why. “Is it because we do clothes,” he asked, “instead of just images of clothes?” Not waiting for an answer, he commented, “Reflection counts for more than substance” in this industry. In the past, he’s likened the situation to a “Warholian nightmare.”These days, Touitou is coming around to the idea of content, “as long as it’s ‘very personal’ and ‘matter-of-fact.’” He said he’s considering a podcast series in which he and his three kids play a song and talk about its maker; episode one may feature “Arnold Layne,” a Syd Barrett tune offThis Is Pink Floydand the band’s very first single. “Playing music with our kids, nobody can do that but me,” Touitou reasoned. It’s thanks to Jean and Judith’s daughter Haydée that Tim Elkaim shot this season’s look book. She hired him for her magazine,The Skirt Chronicles,before he got this gig. “A virtuous circle,” Touitou called the familial give-and-take.The brand is coming off a couple of high-profile collaborations, one with Gwyneth Paltrow’sGoopand the other with no less of a French icon than Catherine Deneuve. Conceived well before the lockdowns, they probably didn’t hurt A.P.C.’s bottom line. Spring 2021 was designed duringle confinement,but the restrictions didn’t preclude a sense of whimsy. The oversized jeans with off-center button flies that first made an appearance last season returned here, and the same treatment was applied to a raw denim mini. All of the button-downs were buttoned up to the top and finished with a thick gold chain worn high under the collar. In one case, a chambray shirt was accessorized by three chains. Bags, too, were shown in multiples. They must be betting that we’ll be more mobile again next year. Here’s hoping. But if not, at least we’ll have thatfamilleTouitou podcast to listen to.
|
Nicole Phelps
|
November 9, 2020
|
Jean Touitou
|
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|
Jean Touitou
|
Jean Touitou
| 0
| 148
|
||
A P C
|
fall-2023-ready-to-wear
|
https://www.vogue.com/fashion-shows/fall-2023-ready-to-wear/a-p-c-
| 2,023
|
ready-to-wear
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fall
|
“The kids are all right” was Jean Touitou’s summation of his latest A.P.C. show. Always partial to a rock-and-roll paraphrase (he had a recording studio installed at the label’s HQ in 1998), he meant this one quite literally. Paraded in front of a crowd of well-wishers, press, and buyers in typically low-key style at the brand’s Rue Madame base, fall was nevertheless a highly personal presentation, modeled by Touitou’s daughter Lily and her teenage classmates from Paris’s École Diagonale. Perhaps Touitou felt the need to emphasize the family-run spirit of the label he founded in 1987. After all, last week came the announcement that L Catterton, the LVMH-backed private-equity group, had taken a majority stake in the hitherto stoutly independent company.Touitou introduced the show, stepping out into an atrium that had been clad in MDF boards and graffitied by the class with doodles and tags, oriented around DJ decks (the beat was provided by DJ Myd). “The young people who are going to walk this runway are like veterans. They experienced the raging of their hormones in a bunker with their parents during the COVID crisis,” he said. “That crisis could have wiped us out as a brand. We survived that war by getting stronger. Everybody you see here was born in 2006, and I think it’s a good metaphor for the sort of transmission process we started recently.”What followed was a determinedly youthful take on A.P.C.’s well-honed vision of Gallic urbanity, each look a nod to what Touitou called “a tribe” in a backstage debrief postshow. There was aTake Ivypreppiness to Japanese selvedge denim miniskirts and high-waist jeans worn with stripy shirts and shiny penny loafers; a street-inflected attitude to gray marl sweatpants and nylon flight jackets; a grungy insolence to flannel shirts worn with slip skirts, fluoro T-shirts, and scuffed plimsolls. And what stunning teenagers! All with their own carefully considered quirks—a snazzy Bananarama hairstyle here, swooping black eyeliner there—and forming a touching antidote to the celebrity-packed catwalks to which we’ve become accustomed.“I love this idea of no casting. You don’t say to people, ‘You’re too tall, too fat, too this, too that.’ Everybody was just cool about it,” said Touitou, who confirmed that, post-partnership deal, he will remain creative director of the brand alongside his art director wife, Judith. On this showing, the fashion formula won’t be changing either. The challenge now is to augment sales from around €100 million to €300 million in the next five years. Touitou didn’t seem phased by the task. “If you have roots that go really deep, like 36 years of roots, that tree you cannot move, and that tree is only demanding to grow. I know because I know,” he said. “And I think that was a good show. People might say it’s just basics. I don’t care what people say.”
|
Ellie Pithers
|
March 5, 2023
|
Jean Touitou
|
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Jean Touitou
|
Jean Touitou
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| 149
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Aalto
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fall-2016-ready-to-wear
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https://www.vogue.com/fashion-shows/fall-2016-ready-to-wear/aalto
| 2,016
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ready-to-wear
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fall
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People were not supposed to sit at the Aalto show, but the whitewashed crates encircling the otherwise empty space proved to be too much temptation for attendees, who immediately filled them as if on autopilot. Not such a big deal, of course, but fascinating when brought into a larger context through the lens of Tuomas Merikoski’s reigning concept, which had to do with habits and behaviors and the human desire, above all else, to maintain some sort of basic homeostasis and sense of normalcy and routine. How does that work when everything you know has been taken away from you? It’s an especially interesting idea coming from the fashion industry, which has long proposed that what you own and how you display it is one of the best ways to define yourself. And that’s all without directly referencing the Syrian refugee crisis currently under way in the EU.Merikoski, the Finnish designer behind Aalto and recently dubbed an LVMH Prize semifinalist, didn’t mention Syria backstage at his show, but he said with this latest collection he was thinking a lot about assimilation, tradition, and identity. He mentioned the Sami people, who are indigenous to the north of Finland, Sweden, and Norway, and from whom he got the dropped waists and voluminous belted coats and dresses that he showed in shades of mustard, royal blue, and bubblegum pink. He called it “Hellsinki,” in a play on that city’s name, which appeared in Vetements-reminiscent patches on the cuffs of jacket sleeves. The best in show included examples of the same silhouette: a cropped black-and-white knit worn over a tri-paneled knee-length black skirt, and the same in a menswear black-and-white check, the top here a shrunken bomber jacket. “It’s about the challenge of holding onto your values while adapting to urban life and creating another identity without losing the one you have,” Merikoski explained. This, by the way, is advice that his fellow LVMH Prize semifinalists would do well to heed, too.
|
Alessandra Codinha
|
March 4, 2016
|
Tuomas Merikoski
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|
Tuomas Merikoski
|
Tuomas Merikoski
| 0
| 150
|
||
Aalto
|
fall-2017-ready-to-wear
|
https://www.vogue.com/fashion-shows/fall-2017-ready-to-wear/aalto
| 2,017
|
ready-to-wear
|
fall
|
In some respects, this latest Aalto collection picked up where Pre-Fall, with its Paradise Lost narrative, left off. Tuomas Merikoski modified his elongated, layered suiting with patchwork stripes veering this way and that. He also revisited the integrated and removable panels of fluffy tinted fur, furthering his collaboration with Saga Furs; introduced new versions of his openwork knits; and reworked the airbrush print of bohemian maidens in a fantastical Lapland landscape by Sami Saramäki.But that was just part of the story, as the Paris-based, Finnish designer is never just depicting a mass-market paperback protagonist. This season, his composite of adventurous spirits seemed even more assertive and mature than in the past, thanks to what he described as a futuristic, “punk energy,” which was used to offset his inclination toward classic tailoring. This produced no shortage of office-appropriate looks for young professionals who want to, you know,dress like womenin a nonconformist, forward-leaning way. The spliced shirtdresses, trousers with belted leg detailing, and mohair coats could all be easily integrated into an existing work wardrobe. Less so the emerald ensemble, meant to project “hope and ecological thinking”; such good intentions were better represented by the jacquard sweater set.The final two looks, convertible outfits created from certified, post-consumer recycled down and fabricated by Italian brand Duvetica, reiterated Merikoski’s openness to conscious design and collaboration in a way that felt especially innovative, cool, and reflective of all his references. “A puzzle of good things that makes for a democratic view,” was how he summed up his effort. And indeed, nearly everything fell nicely into place.
|
Amy Verner
|
February 28, 2017
|
Tuomas Merikoski
|
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Tuomas Merikoski
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| 151
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||
Aalto
|
pre-fall-2017
|
https://www.vogue.com/fashion-shows/pre-fall-2017/aalto
| 2,017
|
pre-fall
|
AssessingAaltocollections strictly by their titles, this season’s Paradise Lost doesn’t match the dark humor of Fall 2016’s Hellsinki. Removing the references—Milton, obviously, the goth metal band, less so—the name Paradise Lost conjures up something grave and despairing. Tuomas Merikoski didn’t take the clothes to such depths, but he did delve into a formal register, and in so doing, turned out a stronger statement. Chalk it up to a greater emphasis on reworked tailoring. A coatdress patched from shirting and a relaxed, double-breasted suit hit the midpoint between established and edge. His natural inclination toward Scandinavian elements played out as a smart, silk waterproof parka with removable fur panels and a shearling teddy, with tinted fur poufs at the pockets (Aalto has begun working with Saga Furs, a fellow Finnish brand).Knitwear has become a key area of experimentation for Merikoski. The Coogi sweaters in polypropylene and wood were bouncy and brash, less so were the fine-gauge knits boasting windowpane panels of the season’s print, an airbrush-style portrait of three divas in the desert by Sami Saramäki. Merikoski asked the artist to add some Freemasonry symbols; those willing to sport the image in full can make a party game out of finding them. Two flourishes enhanced his shirts: contrast color bands and high-buttoned collars—permanently popped, if you will. Wear one with a pair of jeans and your colleagues may declare work-wardrobe envy—more still if you add the hybrid slipper-sock booties in velvet. Merikoski named the two versions Prince and Michael, proving he hasn’t abandoned the dark humor, after all.
|
Amy Verner
|
January 13, 2017
|
Tuomas Merikoski
|
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|
Tuomas Merikoski
|
Tuomas Merikoski
| 0
| 152
|
|||
Aalto
|
spring-2017-ready-to-wear
|
https://www.vogue.com/fashion-shows/spring-2017-ready-to-wear/aalto
| 2,017
|
ready-to-wear
|
spring
|
Many a fashion mood board has boasted pictures of Kurt Cobain wearing a dress. Far, far fewer show him next to a Moomin, a Finnish cartoon character that looks like an amorphous manatee. ForAalto’s Spring collection, Tuomas Merikoski created an artisanal capsule inspired by Tove Jansson’s beloved comic series—particularly her 1977 bookThe Dangerous Journey.“I’ve been reading them a lot to my kids, and that story feels particularly relevant,” Merikoski said backstage. For the uninitiated, the tale follows Susanna, a young girl who is bored by her coddled and predictable existence and dreams herself into a less safe but ultimately more interesting life filled with the unknown.Merikoski said the story’s moral is still instructive: “We need to welcome the new, to hope for the better, to allow young people to dream and to fantasize.” The capsule items kept that youthful free spirit in mind, and Merikoski explained that the pieces were meant to look like they might have been loved and modified by a teenager—provided that teenager had access to thousands of Swarovski crystals and an artist who was capable of hand-painting Jansson’s illustrations.The Moomin-less portion of the proceedings gave way to a clean simplicity that Merikoski called a celebration of diversity and freedom. The best looks here were the loose-neck tea dresses in creamy ivory or burgundy velvet that sloped delicately over the clavicle. Practicality (technical waterproof silk-nylon jackets) met the more whimsical (bucket hats in cream-color leather and velvet, with pearls dangling from the brim). It was all about celebrating our differences. “We need that now more than ever,” Merikoski said. An important message—even for those loath to wear a cartoon character on their clothes.
|
Alessandra Codinha
|
September 27, 2016
|
Tuomas Merikoski
|
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|
Tuomas Merikoski
|
Tuomas Merikoski
| 0
| 153
|
||
Aalto
|
resort-2017
|
https://www.vogue.com/fashion-shows/resort-2017/aalto
| 2,017
|
resort
|
Aaltois one of two brands that made this year’s shortlists for both the LVMH Prize and the ANDAM Award (Koché is the other), and a visit to the Marais showroom fell a few days after the first and 10 days before the latter. Like any good sport, Tuomas Merikoski took the LVMH loss in stride, noting the valuable upsides of meeting industry experts and gaining significant visibility. His latest collection, titled Uusi Fantasia (roughly, “New Fantasy”), validates the recognition. Like other emerging designers today, Merikoski is tapping into youth culture and gender fluidity, both rooted in grunge (for maximum authenticity, the male and female models were street-casted); his variety just so happens to be Finnish. How can one tell? Most obviously, the plump Moomin animated characters stationed on a T-shirt spliced with a draped dress, and hand-embroidered on the back of an oversize denim jacket. The designer likened the official collaboration to featuring the Scandinavian Mickey Mouse; nostalgic coup notwithstanding, it gave the collection a quirky spin.Beyond that, the regional cues were nuanced, although cropped polos in two-tone velvet ringed with metal eyelets, raw edges on gauzy viscose knits, and an offbeat color scheme evoking a sunset in the countryside amounted to an alternative vibe without exaggeration. Merikoski described his brand as “a framework of extremes,” and it’s true that the leather biker jacket (extra-long in the back and vented with side zippers), and crisp light wool check suiting swung the pendulum toward urbane. But he also worked a polyester lining fabric into an attractive plissé, and developed a retail-friendly rain shell from 100 percent silk that can be folded into its own pouch. The trompe l’oeil check sweatshirts and straight-bias combo skirts further confirmed Aalto’s sweet spot between subculture fantasy and inclusive reality.
|
Amy Verner
|
June 21, 2016
|
Tuomas Merikoski
|
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|
Tuomas Merikoski
|
Tuomas Merikoski
| 0
| 154
|
|||
Aalto
|
fall-2018-ready-to-wear
|
https://www.vogue.com/fashion-shows/fall-2018-ready-to-wear/aalto
| 2,018
|
ready-to-wear
|
fall
|
For Fall, Tuomas Merikoski continued to explore his Finnish origins and the intersection between his roots and the world stage—he is, after all, the only Finnish luxury designer on the international scene.“I’m scared about what’s happening [in the world], but at the same time, I think my identity is in line with all the contrasts that are out there,” Merikoski observed before his show. “I’m trying to explore the law of the positive,” he offered. If that’s the goal, then Love Records sounds like a good enough place to start.Love Records is a real-life alternative record label from the late 1960s, and Aalto made use of the original logo artwork (those saucy hearts cropped up on a few tops). But he also wanted to bring in what he called the “crazy Finnish secret side,” which means a love steeped in mystery and oddity that’s intrinsic to Merikoski’s pagan roots, as he put it. Closer to our times, the designer has lately become taken with genre-busting works in the fantastical literary current known as Finnish Weird. “They mix fantasy and reality. There’s movement in that,” he said. “It reflects the world as I see it: It’s super anchored in reality, but the part you can’t control has to be there.” (Anyone looking for a crash course in the subject should add Johanna Sinisalo’sTroll: A Love Storyto their reading list, he noted.)Fashion-wise, that translated into a plaid coat with one exaggerated sleeve in mohair, or maybe a suit made of different kinds of plaid, and, in any case, lots of asymmetrical hemlines. That opening look was followed by a number of iterations of quilted, padded parka fabric, rethought as a sleeveless dress, for example. Merikoski considers femininity, and therefore color, a major upside in these fraught times, so he incorporated orange and lavender prints as inserts on a checkered dress. Splicing discordant materials together seems to be a trend this season, and it worked here. More straightforward were the lavender dress with shirring up one side, the dove gray satin windbreaker, and the cable-knits in blush, black, or fire-engine red.Aalto has bigger plans in the works. He’s not ready to get into details, but Finnish Weird and Love Records are in the mix, maybe a little contemporary photography. It could prove a strange trip.
|
Tina Isaac-Goizé
|
February 28, 2018
|
Tuomas Merikoski
|
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Tuomas Merikoski
|
Tuomas Merikoski
| 0
| 155
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||
Aalto
|
spring-2018-ready-to-wear
|
https://www.vogue.com/fashion-shows/spring-2018-ready-to-wear/aalto
| 2,018
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ready-to-wear
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spring
|
For this collection, designer Tuomas Merikoski partnered with RePack, a Finnish packaging company whose industrial yellow sleeves are made from recycled material. Going forward, if you order something from Aalto’s site, RePack will deliver your purchase and, ideally, you’ll send back the package (free of charge) so that it can be cleaned and reused. Merikoski, meanwhile, repurposed the durable sleeves as statement carryalls by adding properly crafted handles and straps, and then decorated them with stickers that loosely interpreted globally recognized logos. In a way, it called to mind Douglas Coupland’s corporate security blanket from a decade ago; only here, the intention was more consumer conscious, the undertone less ironic (7-Eleven morphed into Grl Powa 4 Ever; the Windows logo became a rainbow flag).So then, what to order? Definitely one of the coats, whether the breezier trench in semi-sheer nylon or the more solid denim-effect suede. This is typically a strong suit for the brand, but these latest versions were revisited as well-developed, softer silhouettes. Even when pieces appeared more stiffly constructed—peaked sleeves on a silk and linen jacket, slightly exaggerated hips, or puffed sleeves—the forms were round, which will be a welcome change for anyone who has felt Merikoski’s masculine-inspired looks are cut too boxy. The gray-washed jersey dress seems an obvious add; how often do you find a feminine piece so undemanding? Let’s not forget a new pair of the brand’s signature pleated pants—especially now that they look noticeably lighter—and the ones with the pouch that snapped onto the back waistline (although in the interest of security, it might be better positioned closer to the front). Of the recurring ruching and gathering, the poplin blouses would get the most wear. A loose-fitting glossy Perfecto—styled with or without the yellow bralette—was seductive in a way we don’t usually associate with the label.Off the runway, these pieces aren’t tethered to the “after nature” message that Merikoski first introduced in his Resort collection and explored again here through TVs with glitchy typography (see also: the New Balance logo, which, like the others, was designed by Finnish graphic design firm GRMMXI). Come what may in this crazy world, he erred against any dark expression; his was a bright proposition that presented its clashes positively.
|
Amy Verner
|
September 27, 2017
|
Tuomas Merikoski
|
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|
Tuomas Merikoski
|
Tuomas Merikoski
| 0
| 156
|
||
Aalto
|
fall-2019-ready-to-wear
|
https://www.vogue.com/fashion-shows/fall-2019-ready-to-wear/aalto
| 2,019
|
ready-to-wear
|
fall
|
The show’s title, Finlaand (reprising the twoa’s in Aalto), and its models hold the key to Tuomas Merikoski’s thinking these days just as much as the clothes.“It’s a whole new chapter for me,” the designer explained backstage before the show. “We’re really breaking rules and breaking free of standards when it comes to people and beauty. I believe you can be whatever you want to be; what inspires me is inner beauty.”Hence a street-cast lineup of friends, friends of friends, and others from Helsinki, and rise to the occasion they did. Adjacent to the show space, the designer also presented his latest artistic collaboration, a video installation by Karim Rahman and Johan Sandberg that questioned beauty-related clichés through a “universal language” of tribal—dare one say superhero?—makeup combinations.For Merikoski, reinvention means diversity, plurality, and a cultural and spiritual collision of all manner of things. But it also implies looking to brave new worlds IRL: An edit of his accessories, such as custom berets by Le Beret Français, launched simultaneously today at Galeries Lafayette.Contrast being the baseline for his Fall collection, Merikoski folded together some of the season’s biggest trends—namely tailoring, bold checks, and spliced-together materials—with notions about “modest wear.” That did not always work: A few models looked like they were being swallowed up by their clothes, and an allover Op Art wave can be a little dizzy-making.But when Merikoski pulled it off—as he did with a black shearling day coat with plaid inserts, well-cut wide-legged pants, a glossy black jacket, a recycled-down puffer, and a handful of organic wool knits by the Gotland-based Swedish company Knitology—he proved that, in these maximalist times, exercising a bit of restraint can go a long way.
|
Tina Isaac-Goizé
|
February 27, 2019
|
Tuomas Merikoski
|
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|
Tuomas Merikoski
|
Tuomas Merikoski
| 0
| 157
|
||
Aalto
|
pre-fall-2019
|
https://www.vogue.com/fashion-shows/pre-fall-2019/aalto
| 2,019
|
pre-fall
|
Tuomas Merikoski is always looking at the potential crossover of Finnish youth and French refinement. He likes to aim for the sweet spot where sophistication cohabitates with nonconformity. It hasn’t always worked seamlessly in the past, but for the last two seasons, the designer seems to be moving in the right direction.“Or make that a wave,” is the English translation of the young brand’s name. A wave can mean many things: it might be a contrasting panel cascading from this season’s floral print. It might be a cresting blue collar on a trench, or fringe spilling out of a sweater or a swell of an oversize scarf.Merikoski excels when, rather than overthink things, he just rolls with it. A few of his tailored jackets with switch-back panels—in orange plaid for the daring or slate blue—looked of the moment, yet could probably ride out several seasons to come. A few commercially minded pieces will probably sail through at retail, too.During a showroom tour, the designer noted that his fashion was highly intuitive. “I like seeing what comes out of the blend,” he said. It will be interesting to see what his next wave brings.
|
Tina Isaac-Goizé
|
February 1, 2019
|
Tuomas Merikoski
|
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Tuomas Merikoski
|
Tuomas Merikoski
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| 158
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|||
Aalto
|
spring-2019-ready-to-wear
|
https://www.vogue.com/fashion-shows/spring-2019-ready-to-wear/aalto
| 2,019
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ready-to-wear
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spring
|
Tuomas Merikoski seems to have graduated from art-school quirky to a more womanly allure. It suits him. “I guess we have matured a little,” the designer said backstage, by way of explanation. “I wanted to bring something a little easier and smoother, with a touch of elegance.” His model lineup also reflected that attitude: Like several other shows this week, Aalto’s was entirely street-cast.Since the Finnish wordaaltomeanswave, Merikoski set about reinterpreting that idea in various ways, such as intarsias, appliqué draping, bias cuts, and prints. Some renderings, like the necklines on a white shift dress or suiting, were literal (and most of them worked). But the subtler transpositions were stronger, like the unfinished streamer cascading down the front of a relaxed white linen suit that the designer dubbed “organic freedom tailoring”—an idea he reiterated frequently, on a shiny black miniskirt; a caramel suede vest; and a long, sleeveless gilet in robin’s-egg blue. Speaking of color, two of the season’s majors, royal blue and security-jacket orange, got deft treatment on jackets and pants. The high-waisted washed-out jeans looked cool, too. And a couple of iridescent blouses looked subtler in natural light than they ever could under the glare of a flashbulb. The Aalto woman will get a lot of mileage out of those pieces.Merikoski also spent a lot some time mulling over womanhood and power, and he decided to push boundaries in more way than one. Power walking—the busy woman’s default mode—would work with the sport shorts shown here. The tipping point came in the final two looks. Swedish artist Joakim Ojanen collaborated with Merikoski on the entire collection, and his screen print motifs expressed what Merikoski called “the essence of power and femininity.” Perhaps the most fearless militants among us will flaunt it for the world to see. But you can get the power point across perfectly well without actually goingthere.
|
Tina Isaac-Goizé
|
September 27, 2018
|
Tuomas Merikoski
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Tuomas Merikoski
|
Tuomas Merikoski
| 0
| 159
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||
Aalto
|
resort-2019
|
https://www.vogue.com/fashion-shows/resort-2019/aalto
| 2,019
|
resort
|
Aalto’s Resort collection will go down as the fastest catwalk show ever. It lasted 4 minutes and 30 seconds. Creative director Tuomas Merikoski enlisted a crew of young and beautiful athletes to perform in the show; instead of walking, they actually race-walked, as if in a real competition.Merikoski tapped into the current taste for sportswear by celebrating the strength of womanhood. “I looked at those tough sports which are seemingly not feminine,” he explained. He found a book calledStrong Is the New Pretty, by American photographer Kate T. Parker, with pictures of girls being athletic and playing traditionally masculine and competitive sports. “It was amazing how they actually retain and live their femininity in such a self-confident, beautiful way while confronting such challenging physical efforts,” he enthused. He tried to convey the same sense of assured élan and dynamic sensuality in the collection, which was called 999. “It’s the number of angels and of positive luck and protective energy, as opposed to the haunting, evil 666,” he explained. “I think of it as the ultimate race number for the ultimate woman.” He had it patched on asymmetrical short shirts in wrinkled cotton and on uniform-inspired boxy jackets paired with performance stretch shorts.From what one could see of the collection, given the fast pace of the model-athletes, it looked fresh, upbeat, and interestingly uncomplicated, with short draped dresses and geometrically cropped tops, and trapeze slip dresses worn over lightweight tees. A funny decorative note was provided via cartoonish patterns by the Swedish artist Joakim Ojanen printed on stretchy leggings paired with crisp masculine shirts.As Merikoski pointed out, Aalto is about contrasts, so natural cottons with a wrinkly texture inspired by the Finnish traditional costumes from Karelia played against techno and performance fabrications. The blend of sport and reworked folklore gave the collection a “naive flavor,” as the designer described it; despite the dynamic, active vibe, the approach was delicate. It certainly had speed in spades.
|
Tiziana Cardini
|
June 18, 2018
|
Tuomas Merikoski
|
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|
Tuomas Merikoski
|
Tuomas Merikoski
| 0
| 160
|
|||
Aalto
|
spring-2020-ready-to-wear
|
https://www.vogue.com/fashion-shows/spring-2020-ready-to-wear/aalto
| 2,020
|
ready-to-wear
|
spring
|
Tuomas Merikoski decided to get a little more personal for Spring, which meant “looking at the inclusive/exclusive-ness of things,” he said. A former competitive swimmer and a beach person at heart (small wonder Aalto is a wave-themed brand), he nonetheless shifted slightly away from the overt, occasionally over-thought expressions of “wave” motifs seen in recent seasons.Instead, he came up with a more conceptual angle based on marine life that might have made Jacques Cousteau smile. A sun hat reprised the shape of a stingray, with twin tails streaming down in the back; a white trench and officer collars were meant to be a feminine spin on the adventuresome Corto Maltese. Merikoski also said he was exploring the notion of movement by extrapolating from a long-standing obsession with the Dutch artist Theo Jansen’s kineticStrandbeest.The overall impression, however, was that this season marks something of a sea change for Aalto. Like many of his peers, Merikoski has had it with street and is focusing on tailoring, to winning effect on that trench, and with mixed results in terms of oversize volumes. Carrot-shaped trousers with a strap system at the ankles looked rather elaborate. Fine knits had a pretty wave-like texture to them. A tartan ensemble done entirely in sequins represented completely new territory for this designer. “Unfinished” prints and twisted fabrics were part of the story too, with T-shirt dresses simply knotted in front. Washed-out denims floated around the legs or reprised the “wave” idea with a swell below the knee, while a new logo squiggled in the manner of rigging. Speaking of which, for Spring, Aalto has also done a capsule with Voilerie Jeandot, which upcycles used sails into handmade bags. The Finnish clog, too, got dressed up with a bow.In the past four years, Aalto has managed to establish an identity; now with new investors onboard, the brand is shaping a fresh strategy. Paring things back felt like a smart way to start a new tack.
|
Tina Isaac-Goizé
|
September 29, 2019
|
Tuomas Merikoski
|
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|
Tuomas Merikoski
|
Tuomas Merikoski
| 0
| 161
|
||
Aalto
|
resort-2020
|
https://www.vogue.com/fashion-shows/resort-2020/aalto
| 2,020
|
resort
|
Tuomas Merikoski prefers not to be wedged into a single category. Which is why for Resort, he chose to focus on “beautiful chaos,” aka eclectic uniform dressing that mixes mediums. Various knits fuse on a single cardigan, for example, or classic front-pleat trousers might get the punk treatment.“We’re living in chaotic times,” Merikoski pointed out during a showroom visit, explaining that his idea was to take the bourgeoisie, season it with a little anarchy, and use humble arte povera–type materials and treatments to create “a random glam.”Extrapolating the signature Aalto wave into a stratified lava print was one of the most successful of these statements; it appeared in striking orange, blue, and yellow on one coat, and to more subtle effect in shades of soft yellow on other ensembles. Punk-inflected straps became button-as-you-will lavaliers on shirts. Merikoski even threw a tiger wave print into the mix; it and the logo-like graphic disc symbol appeared somewhat referential but will likely please his base nonetheless.Another key development was the “tie-dye camouflage” treatment that washed over a billowing trench or a front-tie jacket. In a strong shoulder season, Merikoski placed the accent on both gentle slopes, as on an otherwise fitted white denim jacket, and peaks, jutting them out in V-shaped plackets on a black single-breasted number with a technical sheen.The designer seems to feel most at home when he sticks with street-smart dressing: Denims are one of Aalto’s strong suits, and this season they come with contrasting stitches and in a beige and black iteration, either cropped or cut longer.
|
Tina Isaac-Goizé
|
September 29, 2019
|
Tuomas Merikoski
|
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] | 0
|
Tuomas Merikoski
|
Tuomas Merikoski
| 0
| 162
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|||
Acne Studios
|
fall-2009-ready-to-wear
|
https://www.vogue.com/fashion-shows/fall-2009-ready-to-wear/acne-studios
| 2,009
|
ready-to-wear
|
fall
|
Jonny Johansson of Acne, the Swedish fashion phenomenon, isn't one of those guys who goes about his business like a big shot. "I'm from reindeer country," he likes to tell people. But he's infiltrated the international denim, T-shirt, and well-priced separates markets with such indie integrity that all kinds of cool people want to be associated with the brand. Like, for starters, Alber Elbaz, who buddied up to the Swede to make Lanvin's hit jeans collection. It was a big stride, nonetheless, for Johansson to pitch up in London and show his line outside Stockholm for the first time. In typical fashion, he lured the curious to the Sir John Soane's Museum, an obscure and marvelous cabinet of ancient and architectural artifacts that many hometowners have never heard of.What Johansson presented was a far cry from jeanswear basics. "It started when I was sitting in the Café de Flore in Paris and thinking what to do," he said. "I looked over, saw an old guy, maybe in his seventies, hanging out, and his hands were covered in rings. So I started drawing." That image, linked with an inspiration about the kind of girls who populate the Berlin art scene, gave rise to a collection that ran from well-cut tailoring (overcoats and seventies high-waisted pantsuits) to plastic jeans to chunky gold and diamond jewelry made in collaboration with the venerated German artist-goldsmith Michael Zobel. Huge cuffs, rings big enough to occupy two fingers, and saucer or box-shaped pins—all set with rough diamonds, Tahitian pearls, emeralds, seashells, or rough-hewn slabs of semiprecious stones—drew the most attention, and surprise. Delving into precious jewelry might seem reckless in a stalled economy, but Johansson promises he's only following the instincts that have driven him to success since he started in 1993. Acne, after all, is an acronym for Ambition to Create Novel Expressions. He and his team don't play by conventional rules. And as he pointed out, the much-trusted jeans and T-shirts are constantly available online, anyway.
|
Sarah Mower
|
February 8, 2009
|
Jonny Johansson
|
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] | 1
|
Jonny Johansson
|
Jonny Johansson
| 0
| 163
|
||
Acne Studios
|
fall-2010-ready-to-wear
|
https://www.vogue.com/fashion-shows/fall-2010-ready-to-wear/acne-studios
| 2,010
|
ready-to-wear
|
fall
|
Jonny Johansson's world has been invaded by droids. As the father of six- and three-year-old sons who are obsessed withThe Clone Warscartoons and collectible figures as only small boys can be, he shrugs, "We have to watch it and play it all the time. It's sort of embarrassing, but that's where my inspiration comes from—always close to home."Not so embarrassing, actually, since the domestic goings-on at Johansson's house in Stockholm this winter happen to have landed Acne's Fall collection plumb in the center of Planet Fashion's current sci-fi-tinged fantasies. Led by Iris Strubegger, the models who flew into London for the show had spray-painted foreheads and greasy glitter around their eyes and stomped onstage wearing cartoonish boots with Lego-like soles, dressed like some postapocalyptic alien militia.The vibe gave Johansson a formula to upgrade cool Nordic streetwear to a fashion level—drapey fatigues, banana-shaped pants with zippered ankles, jumpsuits, oversize sweaters, and scarves wrapped as hoods. The most outstanding piece: a rough-hewn patchworked, primitive-looking long-haired jacket that was a grunge-luxe upgrade of Acne's best-selling aviator shearling. It could easily be taken for fur, but as Johansson put it, "Nope. All sheep. They brush them these days."
|
Sarah Mower
|
February 1, 2010
|
Jonny Johansson
|
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|
Jonny Johansson
|
Jonny Johansson
| 0
| 164
|
||
Acne Studios
|
spring-2010-ready-to-wear
|
https://www.vogue.com/fashion-shows/spring-2010-ready-to-wear/acne-studios
| 2,010
|
ready-to-wear
|
spring
|
There isn't a fashion watcher on earth who isn't dying to know what the news for Spring's going to be—and the action's already started in London at Acne's presentation. Even from halfway across the room and through a thicket of models standing in formation, it was easy to zero in on the newest idea: two ethereally hip, long pale dresses. Too early to say, of course, whether fluid-to-the-floor will sweep the world. But they did make the body-con dresses standing nearby seem a bit seen-that-last-year. And that counts for something.Jonny Johansson, just arrived from Sweden to present at the Barbican Centre, said he'd been at a friend's wedding on a beach in the south of France and found himself designing in a meditative, spiritual mood. "I don't really like hippie or New Age, but I felt I wanted something slightly mystical." The lineup was full of the urban-chic tailoring and jeans that have made Johansson an accidental cult hero to thousands. One of them, a small blonde woman in a short white dress, turned out to be Kylie Minogue. "I don't know her, but it's nice to meet her," he shrugged, looking surprised. Johansson has a collaborative curiosity and an instinct for doing things just because they feel right to him. "I don't like traveling much, or think about 'inspiration.' I dig where I stand," he explained.He worked in loose silks for drop-crotch pants and tie-dyed, scrunched textures, sharpening the look with cropped jackets and several variations on cutaway vests. He also set about elaborating on and elevating Acne denim by sending jeans to the British jeweler Husam El Odeh, who came back with flexible silver nickel plates to bolt on as knee armor and back-pocket patches. There were also signature suedes and one great dusty-gray jacket with a fringe in back. But it was the two narrow, languid floor-length silhouettes—one in body-skimming ivory jersey, the other in pale beige crepe with long sleeves and shoulder pads—that best conveyed the relaxed but subtly glamorous aura Johansson was talking about. Their simplicity would qualify them as wearable by day, but his addition of seemingly random sprinklings of mismatched Crystallized Swarovski Elements lent a touch of cool magic to distinguish the look from minimalism.
|
Sarah Mower
|
September 1, 2009
|
Jonny Johansson
|
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|
Jonny Johansson
|
Jonny Johansson
| 0
| 165
|
||
Acne Studios
|
fall-2011-ready-to-wear
|
https://www.vogue.com/fashion-shows/fall-2011-ready-to-wear/acne-studios
| 2,011
|
ready-to-wear
|
fall
|
After the Acne show this morning, Jonny Johansson was so choked with emotion that you had to wonder if this was an Acne watershed we'd just witnessed. You know, the kind that comes before a major announcement. In fact, the showwasa sort of good-bye. Johansson felt he was closing a chapter of the brand's history, with the next chapter perhaps anticipated by the changes in sensibility seen in the pre-fall collection. But, for this season at least, it was still Acne business as usual.For starters, that meant the peculiar androgyny that is one of the brand's signatures. First look: cropped overalls with platform sandals and sheer, flesh-toned socks. Johansson claimed inspiration from the girls in his design studio, people who conjured maximum cool out of minimum budget, reconfiguring workwear as a chic little something. Those transformations informed the way chunky, functional shapes were matched with fluid, floor-length skirts or patched with metallic leather. But Johansson said he'd also been looking at the work of British artist Daniel Silver, so he was thinking about sculptural forms. Kudos to that somewhat abstract influence if it dictated the appealing volumes of the clothes, particularly when they were shown in richly colored leather: Oversize biker jackets and vests and cropped trousers and overalls appeared in shades of burgundy, dusty pink, mustard, and olive. They were the most persuasive pieces in the show. But it was the color palette as a whole that made this show a satisfying postscript to Acne 1.0.
|
Tim Blanks
|
February 19, 2011
|
Jonny Johansson
|
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|
Jonny Johansson
|
Jonny Johansson
| 0
| 166
|
||
Acne Studios
|
fall-2011-menswear
|
https://www.vogue.com/fashion-shows/fall-2011-menswear/acne-studios
| 2,011
|
menswear
|
fall
|
Acnemay have its big-boy bona fides in order—international distribution, its own literary journal, the occasional show in Kensington Palace, even a much-touted collaboration with Lanvin before its fellow Swedes at H&M reached the atelier d'Elbaz—but it's always pitched itself as the label of guys just wanna have fun. And then its Fall collection emphasizes the suit?"It's just a feeling, you know," creative director Jonny Johansson shrugged after the show. "All the tailoring—I thought that was in the moment, something fresh. I'm tired of all this heritage, the older models or whatever. It's time for something young."That translated into a series of overcoats paired with suit pants, as well as the two-piecers themselves. The idea of a man's first suit is one that's been gripping other designers during this very sartorial season—Kris Van Assche, for example, was mulling it, too. It's also good business, especially at Acne's relatively modest price point: The suit revolution of the past few years has trickled down to the younger generation, and it's labels like Acne to which they'll turn.The Acne cut is youthful, with slightly cropped pants and low-buttoning jackets in different styles (single- and double-breasteds, standard lapels and shawl collars), all in Italian bonded wool. The hitch is that, on the runway at least, they can look a little flat, even when pepped up by accents of raspberry, royal blue, or teal. "It's the way they dress," Johansson said of his clientele. "It's that moment when you're not grown up and at the same time, not a kid. The kind of sexual energy that brings." Keep looking down, to the boys' shiny patent Chelsea boots, and you could get a better sense of the signature Acne charge.
|
Matthew Schneier
|
January 22, 2011
|
Jonny Johansson
|
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|
Jonny Johansson
|
Jonny Johansson
| 0
| 167
|
||
Acne Studios
|
pre-fall-2011
|
https://www.vogue.com/fashion-shows/pre-fall-2011/acne-studios
| 2,011
|
pre-fall
|
The pre-fall phenomenon has yet to make much impression on Sweden, soAcne's contribution to fashion's newest season was unsurprisingly low-key. A mere ten looks, in fact. But, as edited as they were, they still pointed to new possibilities for the brand. Androgyny has been something of a signature for the label. Here it took a back seat to the unambiguous womanliness of flared full skirts, fitted shifts, and a sensational ponyskin coat-dress.As is often the case with Acne, founder Jonny Johansson's backstory was even more riveting than the clothes. He had been on an art weekend at Lismore Castle, the Irish seat of the Duke of Devonshire for the past 250 years, and he was inspired by the women of the family, a clan that includes the living legend Debo, Dowager Duchess. "I was never drawn to something classic before, but now I had a reason to do it," said Johansson. The plainness of a white shirt tucked into an elastic-waist skirt did, in fact, suggest the no-nonsense chatelaine of a grand country estate out for a stroll through her garden. Not so the urban black leather or the denims with their bejeweled trim, which efficiently targeted Acne's established customer base.
|
Tim Blanks
|
January 20, 2011
|
Jonny Johansson
|
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|
Jonny Johansson
|
Jonny Johansson
| 0
| 168
|
|||
Acne Studios
|
spring-2011-ready-to-wear
|
https://www.vogue.com/fashion-shows/spring-2011-ready-to-wear/acne-studios
| 2,011
|
ready-to-wear
|
spring
|
Jonny Johansson sent a mixed message with today's show of Acne Studio's womenswear. "Nothing retro, no references," he said of the clothes, after a presentation that had taken place in Apartment 1A, Princess Margaret's old digs at Kensington Palace, about as retro a location as the Establishment allows. Photographs of old-school glamour-puss Margaret by then-husband Lord Snowdon covered the walls, and the distant thumping was surely the sound of her flipping in her grave as a parade of serious teens filed by in Acne's casually diffident clothing. You could imagine the old girl snarling, "Damn hippies." That was, after all, partly the reaction Johansson was courting.Asked to define what was "Swedish" about the clothes, the designer answered, "Spiritual, natural…hippie." The question of identity was a valid one, because it is actually quite hard to discern just what makes Acne distinctive—and yet it's a wardrobe staple for an impressive number of stylish women. Here, they would have latched onto the languor of a lo-o-o-ong red sweater over a floor-length tube. If they fancied layering up in blue, there was a navy knit over a floating chiffon shirt and leggings. If they wanted something up-to-the minute, there was a look that echoed the vintage bathing suit-cum-playsuit that is popping up all over for Spring.Anyone looking for a harder edge—or maybe a flavor of Acne's former collaboration with Lanvin—could settle on the silver python-print shift with the big zipper that Alber Elbaz loves so much. There was tough glamour in leathers studded with freshwater black pearls. And there was an interesting backstory in other skins that had been embossed with Samoan motifs by a new collaborator, a female tattoo artist. And maybe that all adds up to a brand of distinction.
|
Tim Blanks
|
September 18, 2010
|
Jonny Johansson
|
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|
Jonny Johansson
|
Jonny Johansson
| 0
| 169
|
||
Acne Studios
|
spring-2011-menswear
|
https://www.vogue.com/fashion-shows/spring-2011-menswear/acne-studios
| 2,011
|
menswear
|
spring
|
You want a great night out to go on forever. At least that's how Acne's Jonny Johansson felt after partying at Le Tango in Paris with Christopher Lundmann and the rest of his men's design team. It made him think of the kind of summer dances he used to go to when he was growing up in the Swedish countryside, and from that came a collection that combined a seventies silhouette with the disco languor of jersey and an androgynous schoolboy element.Imagine a Junior League Studio 54 in Stockholm, and you'll get a sense of Johansson's nostalgic fun factor. Schoolboy shorts and layered T-shirts shared space with a lean double-breasted navy suit, the pants high-waisted and flared, or a pair of leather dungarees that suggested another sort of seventies club altogether. Walking through the collection, Lundmann insisted that, concise as it was, it comprised an entire summer wardrobe, from sporty day to dressed-up night (the metallic sandals were a contemporary touch). The lingering impression was that these were clothes that would equally suit Acne boysandAcne girls, and you get the feeling that's not something Johansson would be particularly upset about.
|
Tim Blanks
|
June 26, 2010
|
Jonny Johansson
|
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|
Jonny Johansson
|
Jonny Johansson
| 0
| 170
|
||
Acne Studios
|
resort-2011
|
https://www.vogue.com/fashion-shows/resort-2011/acne-studios
| 2,011
|
resort
|
With its Swedish roots, Acne has no weighty fashion heritage to live up to. "We can do what we want," says company founder Jonny Johansson. For Resort, that meant a collection that was, somewhat incongruously, inspired byBlack White + Gray, the recent documentary about the relationship between Sam Wagstaff and Robert Mapplethorpe. "Their mix of uptown and downtown, against a backdrop of 1970's New York," was how Johansson described it. Hence the leather pants and waistcoats with butch biker caps. A leather shift dress was saddle-stitched in a technique the Swedes calllaskad. And, this being Acne, all skins were bio-leather from an old artisanal company.Balancing the butchness were fluid, drapey pieces in washed jersey, like a suit with a definite shoulder, sort of seventies going on forties, but sinuous enough to strip away the formality. A jersey halter dress had a whiff of Halston about it. And there was some of that designer's easy glamour in a cardigan jacket in black paillettes. Johansson referenced the jewelry Mapplethorpe designed with skull and crystal pendants. "I like a bit of spirituality," he said. That, however, was decidedly lacking in the shoe style called Pixel, with its literally killer heel of one long single nail.
|
Tim Blanks
|
June 25, 2010
|
Jonny Johansson
|
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|
Jonny Johansson
|
Jonny Johansson
| 0
| 171
|
|||
Acne Studios
|
fall-2012-ready-to-wear
|
https://www.vogue.com/fashion-shows/fall-2012-ready-to-wear/acne-studios
| 2,012
|
ready-to-wear
|
fall
|
The key word at tonight's Acne show wasambition. If last season's collection introduced a new sense of scale to the brand, then this one doubled down on it: Acne maestro Jonny Johansson seized on a trio of body-obsessed artists for inspiration, blenderized the references, and came up with a vision for Fall '12 that was directional, remarkable, and rather strange.The key figure in Johansson's art trio was undoubtedly the photographer André Kertész, from whom Johansson took his cues for the collection's distorted silhouettes. (The other artists cited were erotic sculptor Hans Bellmer and the painter Hanneline Røgeberg, who inspired the collection's palette.) Johansson achieved distortion in a variety of ways. There were coats sculpted out of shiny shoe leather, shaved down in special machines, that held the arms slightly aloft from the body. There were fitted dresses paneled together from flesh-toned pieces of fabric in organlike shapes, and cropped, puckered knits. Most intriguingly, there were a variety of trousers that simultaneously raised and sank the waistline, such as the pair of burgundy pants that appeared to be slung low on the hip, over a matching zipped girdle; in fact, it was all one garment. A mannish burgundy suit, trimmed in black elastic, was the most winning representation of this idea.At times, it was hard to figure out how this collection would play on the street. Johansson is certainly challenging his consumer, but he also presented them with some silhouette-shifting ideas that won't be too hard to digest. The low-slung cut of the pants here will make an impact, for one, as will the collection's wide belting and oversize jackets and coats. On the whole, this collection served notice to anyone who still primarily thinks of Acne as a denim brand: They're playing a new game now, and they intend to play in the big leagues.
|
Maya Singer
|
February 18, 2012
|
Jonny Johansson
|
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|
Jonny Johansson
|
Jonny Johansson
| 0
| 172
|
||
Acne Studios
|
fall-2012-menswear
|
https://www.vogue.com/fashion-shows/fall-2012-menswear/acne-studios
| 2,012
|
menswear
|
fall
|
Can you really fake it to make it? Jonny Johansson at Acne set out to find out. He began the Fall collection mulling the idea of fakeness and fraudulence, especially as concerns fabrics and materials, those that pretend to be something they're not. Enter leatherette. "The interesting thing is, you stumble into the fabrics and you don't particularly like them," Johansson said backstage after the show. In a season rich—over-rich—with leather and fur, there's a freshness to going faux. And it suits the young men Johansson has in mind, and the young men who buy his label.The fake materials—not only leatherette and vinyl but polyester, pile, and faux fur, too—gelled with the dressed-up grunge feel of the collection. The original grunge kids were anti-precious and reveled in the kind of nose-thumbing that Johansson emulated here by sticking pleather on a Paris runway. For added effect, he played it off high fabrics like mohair and Harris tweed. The achievement at Acne is to keep the rebel spirit and the high end both intact. In Johansson and his team's hands, grunge got elegant. The way looks were cobbled together almost haphazardly, short lengths over long, shorts over pants, was willfully odd. But it was tied together and elevated by the keen eye for color combinations and proportion.In the midst of working with fakes, Johansson was thinking about an emotion that's anything but: the uncertainty and pain of young love. Who writhes like a heartsick kid does? The designer sprayed shirts and sweats with soulful but almost mocking prints of hearts, and charted a careering course between buoyant brights and moody black.
|
Matthew Schneier
|
January 21, 2012
|
Jonny Johansson
|
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|
Jonny Johansson
|
Jonny Johansson
| 0
| 173
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||
Acne Studios
|
pre-fall-2012
|
https://www.vogue.com/fashion-shows/pre-fall-2012/acne-studios
| 2,012
|
pre-fall
|
Youth flies by in a flash. Ever after, it's remembered by totems and touchstones. Proust had his madeleine. Kane had his sled. Jonny Johansson has his MTV."When I was growing up, MTV was very important for fashion," Johansson said at Acne's Paris showroom. "TV is not really something you talk about. But the glorious moment of MTV was what I wanted to capture."The teenager glued toHouse of Stylewas the muse of Acne's pre-fall collection. "It's a schoolgirl who styles herself a little bit," Johansson explained. The look was, accordingly, a little vintage and a little haphazard. There was plenty to concern a mother: ultra-short skirts in jazzy silver foil, see-through blouses in a rose print, and cropped sweaters baring a hint of flesh. Many pieces felt purposefully secondhand, like the cropped, bell-leg trousers; others looked adapted to fit, like school uniform shirts with sewn-on jersey corseting.Befitting its inspiration, the collection also felt young. But a maturer designing hand was evident in clever touches like the zipped pocket that held coat belts in place.
|
Matthew Schneier
|
January 20, 2012
|
Jonny Johansson
|
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|
Jonny Johansson
|
Jonny Johansson
| 0
| 174
|
|||
Acne Studios
|
spring-2012-ready-to-wear
|
https://www.vogue.com/fashion-shows/spring-2012-ready-to-wear/acne-studios
| 2,012
|
ready-to-wear
|
spring
|
There was an unfamiliar feeling in the air after this evening's Acne show: excitement. Acne designer Jonny Johansson sent out a taut, terrific collection, and it snapped everyone in the audience to attention. It's hard to put your finger on exactly what made these clothes work so well; maybe it was that they expressed, with ease and confidence, Johansson's internal tension about seizing on a recent trip to Marrakech for inspiration. As the designer explained after the show, he went to Morocco bored in advance of all the fashion clichés the place had birthed, and left with the unhappy feeling that he, too, had been influenced. That ambivalence made him work extra-hard, apparently, to reconsider the city, and interpret its colors and attitude in a way that felt relevant and urbane.Thus, the signature Acne garment this season is a broad cotton caftan, worn as a top and trimmed with graphic, tapelike strips of contrast color. The loose, airy feel of Marrakech style showed up, as well, in the collection's capacious shorts and culottes, a key silhouette. But Johansson remixed the reference, mashing it up with seriously street looks such as crop tops laser-cut with stars, and cropped leather motorcycle jackets and pants inset with racing stripes and panels of sparkly plastic. The pants, in particular, are going to fly off the racks. The collection's other big theme was a kind of über femininity, seen in flared and full skirts and little peplum jackets; here, the designer struck an original tone by experimenting with his materials, making these pieces out of dense-looking bonded silk, cotton, denim, and more. Johansson also played graphic games with color, punctuating his primary palette of white, black, and denim blue with earthy greens, rusts, and ochers, plus some bracing hits of lavender, pink, and electric blue.On the whole, this collection set a new bar for Acne as a fashion house, as opposed to merely a bellwether street-wear brand. That said, you'll be seeing these pieces on the street; at a certain point during the show, one got the sense that the insider audience had stopped taking notes and started writing their preorders. That's always a good sign. Be on the lookout for Acne's giant-tasseled loafers: The black pairs will be a hit, and the ones in sparkly electric blue will be a fashion phenomenon.
|
Maya Singer
|
September 17, 2011
|
Jonny Johansson
|
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|
Jonny Johansson
|
Jonny Johansson
| 0
| 175
|
||
Acne Studios
|
spring-2012-menswear
|
https://www.vogue.com/fashion-shows/spring-2012-menswear/acne-studios
| 2,012
|
menswear
|
spring
|
For a guy often accused of popularizing Swedish design, Acne's Jonny Johansson doesn't rhapsodize about the notion. "Historically we don't have a fashion background, really," he said after his latest Acne show. "Architecture, yes. Design, yes. But fashion?" And yet tonight's show was his homage to his homeland. He looked to the seventies for inspiration, a time when, as he is well-placed to recall, denim was beginning to be imported en masse.If denim was important to the development of Scandinavian fashion, it's also been crucial to the development of Acne, which rose to fame on the strength of its jeans. And investing in what it does best helped the label turn out a very fine collection. There was romance and retro both in the rounded club collars, cabled sweaters tucked into chinos, the loafers, and tapered, trouser-cut jeans. Reinforcing the mood was the soft, muted palette that dominated the show. But there was newness, too, in the addition of athletic elements, borrowed from Johansson's runner friends. Their running leggings and bike shorts inspired the paneled viscose tights and mini shorts.They exemplified the functionalism that Johansson sees as the true Swedish heritage—even if he classed it up with patent evening shoes or a raw suede pullover. Individually, you might have seen versions of some of these pieces before. But you wouldn't have seen them thrown in the blender with the rest like you did here. And that—not jeans—is what keeps Acne chugging along.
|
Matthew Schneier
|
June 25, 2011
|
Jonny Johansson
|
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|
Jonny Johansson
|
Jonny Johansson
| 0
| 176
|
||
Acne Studios
|
resort-2012
|
https://www.vogue.com/fashion-shows/resort-2012/acne-studios
| 2,012
|
resort
|
Acne staged a culture clash for its Resort presentation: "a downtown 'young jeans' girl," in the words of creative director Jonny Johansson, crashing into the fabrics and shapes of midcentury couture. There were what looked like acres of taffeta, organza, silk, and linen at the label's first New York presentation, and silhouettes from the height ofhautein the 1940's and fifties.That meant a new emphasis on volume for a company that rode the skinny-jean wave to the top and an insistent femininity, despite the brand's beginnings in rocker chick (and dude) androgyny. It's a course Acne has been pursuing for a few seasons, and it's getting more sure-footed as it goes. In the case of this presentation, looks were styled to the nines—which, in a few cases, might've been three too many. Billowing taffeta trousers emerged from under tight pencil skirts and proper cap-sleeve dresses ("interrupted volume," Johansson called it). In other instances, as in a black taffeta ball gown under a destroyed denim jacket, the look felt closer to what you might find off the runway.For all the fifties references, Johansson wasn't precious with his materials, letting them crinkle and crease organically. As usual, his color sense was spot-on, too: A rich palette of pumpkin, plum, sea foam, and lemon yellow set off the black, white, and denim indigo. It made what could've been fussy, fun. That's never a bad step to take. And if any of Acne's old fans were looking for more jeans than the runway lap showed, they'll surely be sated when the collection hits shop floors.
|
Matthew Schneier
|
June 8, 2011
|
Jonny Johansson
|
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|
Jonny Johansson
|
Jonny Johansson
| 0
| 177
|
|||
Acne Studios
|
fall-2013-ready-to-wear
|
https://www.vogue.com/fashion-shows/fall-2013-ready-to-wear/acne-studios
| 2,013
|
ready-to-wear
|
fall
|
After showing in London for several seasons, Acne decamped to Paris this time out, and with good reason. Ahead of creating the new collection, creative director Jonny Johansson embarked on a collaboration with the artist Katerina Jebb, in which they explored the archive of historical garments at the Musée Galliera, the Musée de la Mode de la Ville de Paris. That exploration was the foundation of this collection. As Johansson explained after today's show, he and Jebb were enamored of the interiors of these antique clothes, and they sought to expose their hidden construction. For Jebb that meant scanning the pieces inside out, and creating photomontages that were used as the collection's print. Johansson, meanwhile, elaborated various elements of garment construction by revealing and exaggerating them, for instance by making a motif of an oversize chain "stitch."This was rich material to play with, and the sheer variety of ideas on the runway, and the riot of color and fabric, gave you a sense of Johansson's exuberance about the project. And as usual, there were a lot of fine pieces here, like the men's and women's suit jackets and gilets that had been roughly gathered, and the women's short, sharp vests accented in metallic leather. In addition, Johansson's nubby bouclé looks were a highlight, especially those embellished with the stitchlike chain.Overall, however, this was a mixed effort. The emphasis on layering meant there wasn't a clear message on proportion or silhouette. The oversizing here was a disappointment, as well—Johansson knows how to magnify a garment with flair, as his terrific pre-fall collection attested, but in this instance the models often seemed lost in their clothes. The scale didn't feel particularly specific. Nor, for that matter, did the off-kilter construction of much of the tailoring: Johansson said he'd made his jackets fall askew because he wanted them to feel relaxed, but the off-ness read as mannered instead.Acne is a brand with enormous reserves of talent. Johansson's ambition is plain, and he and his team have earned their place on the big stage of Paris. But they seem to have developed a habit of damping the effect of their very good ideas, like this season's central theme of exposed construction, by throwing more ideas on top of them and not attending to the edit with sufficient discipline. A bit more focus would be welcome.
|
Maya Singer
|
March 1, 2013
|
Jonny Johansson
|
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|
Jonny Johansson
|
Jonny Johansson
| 0
| 178
|
||
Acne Studios
|
fall-2013-menswear
|
https://www.vogue.com/fashion-shows/fall-2013-menswear/acne-studios
| 2,013
|
menswear
|
fall
|
Acne is knitting together its men's and its women's. Jonny Johansson, fresh off a trip to New York to introduce Acne's women's pre-fall was at the Crillon in Paris today to debut its Fall men's—both collections, it turned out, were inspired by Swedish playwright, director, book collector, narcissist, and paramour August Strindberg. An exhibition at Stockholm's Fotografiska photo museum had shed new light on Strindberg for the Swedes. Here in the U.S., he's best known as the author ofMiss Julie, but Johansson and his team discovered he was also a canny self-promoter and dandy, with a love of his own image and a deep interest in propagating it. The show focused on Strindberg's portraits and self-portraits, which he would print on cards and distribute. He was into branding a century before branding.That makes him an interesting choice for a fashion label, even beyond the possibilities for dandified menswear his own wardrobe suggests. Johansson worked plenty of that in, too. A fur-collared peacoat suggested Strindberg's navy Swedish military garb, the extra-long shirts worn loose, the styles of the nineteenth century. An appealing watercolor print was taken from the hand-printed Florentine paper of one of the collector's books. Neck scarves, giant teddy-bear shearlings, and cropped pant lengths would've been the additions of more modern dandies.It was a smaller showing than usual for the label, but that's in part due to the push and pull that results when a former two become one. If Acne is conserving resources, all the better to prepare for the women's show it's planning for Paris fashion week, its debut on that calendar. It will be created in collaboration with the photographer and artist Katerina Jebb and the Musée Galliera's maverick director, Olivier Saillard. In the spirit of coming together, it will include a few looks for men.
|
Matthew Schneier
|
January 17, 2013
|
Jonny Johansson
|
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] | 0
|
Jonny Johansson
|
Jonny Johansson
| 0
| 179
|
||
Acne Studios
|
pre-fall-2013
|
https://www.vogue.com/fashion-shows/pre-fall-2013/acne-studios
| 2,013
|
pre-fall
|
Outside of Sweden, August Strindberg is best known as a playwright, and particularly as the writer of the frequently revived dramaMiss Julie.In his homeland, however, the figure of Strindberg looms large: As Jonny Johansson explained at the Acne Studios presentation today, he's revered as a novelist, a poet, a painter, and a man of ideas. And you might say that Strindberg loomed extra large over Acne this season. Inspired by portraits of Strindberg that he happened to stumble onto, Johansson turned out a compelling collection of classic, essentially utilitarian pieces that had been exaggerated to almost comic effect. Emphasis onalmost—though there was a sense of whimsy here, notably in the cross-body bags with absurdly long straps, the exaggerated volumes and proportions were the product of serious and canny thought. Johansson's idea was to reinterpret the layered and padded look of Swedish winter kit, feminizing rugged outerwear by cutting coats in A-line and cocoon shapes, and updating the silhouettes further with superlong bell sleeves and oversize hoods and collars.That strategy made for some standout parkas, adapted peacoats, and cozy faux furs. Johansson doubled down on his exaggeration theme by layering those coats over long, flowing button-downs and culottes so surreally big, you'd have to describe them as "vast." The giant culotte has emerged as an Acne staple in recent seasons; indeed, exaggerated volumes and proportions have, themselves, become something of a brand signature. Given all his practice, it's not surprising that Johansson's take on the theme was fluent; what made for a welcome improvement, this time out, was that the exaggerations never seemed arbitrary. At its heart, this was a practical collection made up of easy-to-comprehend items that had been made to look fresh. And what with the writerly source material, it was only fitting that there was poetry to be found here, too, with painted florals and a winning suit of lynx-printed wool.
|
Maya Singer
|
January 6, 2013
|
Jonny Johansson
|
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Jonny Johansson
|
Jonny Johansson
| 0
| 180
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|||
Acne Studios
|
spring-2013-ready-to-wear
|
https://www.vogue.com/fashion-shows/spring-2013-ready-to-wear/acne-studios
| 2,013
|
ready-to-wear
|
spring
|
"Meet me at the wrecking ball, wrecking ball, I'll wear something pretty and white…" So goes the chorus of the Neil Young tune "Wrecking Ball." According to Acne designer Jonny Johansson, Emmylou Harris' plaintive cover of "Wrecking Ball" inspired this season's Acne show—a show that did not, in fact, kick off with a look that was pretty and white, but that did feature country-western atmospherics, not to mention T-shirts that said, simply, MUSIC. Well, sure. Who can't get behind that?Johansson explained after the show that, for him, music and, in this instance, "Wrecking Ball," conjures a certain aesthetic, and a certain girl. This season, she was a girl much more rustic and unraveled than the Acne regular, given to wearing absolutely gigantic parachute skirts, raw-hem poet blouses, and engineer stripes. "Romantic" is the word Johansson used to describe the collection, and the tone came through. There were some quality looks that emerged from it, like those parachute skirts, and the plain tops with flounced cuffs, and the striped ones that sat off the shoulder. But Johansson couldn't quite get himself to the emotional place he seemed to want to go with these clothes—the Emmylou Harris place, if you will, that's so openly, fearlessly vulnerable. The Acne girl is just too tough for that.So, perhaps unsurprisingly, the best looks were the ones that were within her traditional comfort zone: After a sad little summer romance in the country—ka-pow!—she was back in town, kicking ass and taking names in graphic leathers, buckled vests, knee-high lug-sole sandals, and the most hands-down fantastic pants seen thus far for Spring '13. Johansson showed his narrow, slashed-ankle bad boys in numerous iterations, and well he should have: They will likely prove one of the must-have items of the season. All in all, this was a mixed result for Acne. There were plenty of pieces that will kill at retail, but the brand labored at being directional, and it showed.
|
Maya Singer
|
September 15, 2012
|
Jonny Johansson
|
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|
Jonny Johansson
|
Jonny Johansson
| 0
| 181
|
||
Acne Studios
|
spring-2013-menswear
|
https://www.vogue.com/fashion-shows/spring-2013-menswear/acne-studios
| 2,013
|
menswear
|
spring
|
Denim is the seed from which Acne grew, but in recent years, Jonny Johansson has steered the label—at least as far as the runway is concerned—in a different direction. "We never wanted to be just a denim brand," Johansson said. "We were afraid to show too much denim, to be put in a box." That the opening look for Spring was full-on jean signaled something of a homecoming. Johansson explained that workwear had been a particular font of inspiration, and where work is concerned, denim often follows close behind. But while there were echoes of that in the raw-edged denim vests and classic jean jackets, and perhaps also in the looser, boxier silhouette, flourishes like the scuffed gold and silver lace-up shoes added a note of tarnished glamour. So did an oversized striped T-shirt and matching pants in striped satin.The two strands intertwined in what amounted to a four-piece suit: matching denim jacket, vest, tunic, and pant, Acne's entry in the season-wide arms race of top-to-toe looks. (Simplified versions of sleeveless tunic tops and matching pants in paneled leather were literally all about the arm.)The last few seasons have represented a growing confidence for the label, which now finds itself with credit to spend. A bit curious it did so on a collection this compressed. Maybe what was offered today wasn't so much a return to roots as a way station on the continuing journey forward.
|
Matthew Schneier
|
June 29, 2012
|
Jonny Johansson
|
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|
Jonny Johansson
|
Jonny Johansson
| 0
| 182
|
||
Acne Studios
|
resort-2013
|
https://www.vogue.com/fashion-shows/resort-2013/acne-studios
| 2,013
|
resort
|
Yesterday, what felt like every fashion editor on earth was shuttled from appointment to appointment—mercifully, many in Milk Studios, site of Acne's mini-presentation—with what felt like every fashion brand on earth. It's been grumbled before, but more than ever it felt that Resort, formerly a commercial collection paraded past buyers only, has become a full-fledged fashion season. Time to breathe? Don't count on it.So when Acne's Jonny Johansson said that he was thinking of the herky-jerky pace of Madonna's "Ray of Light" video when designing his new collection, you knew what he meant. He was tapping the pace and the frenetic energy of street style and its newly minted style stars. "These girls are the ones going really fast," he said backstage before the presentation. Naturally—everything can change in the space of a shutter click.Light was right for this collection. White was seen on treated cottons, cupro, and silk, like the silk "jean jacket" with pick stitches, as if its wearer had altered it herself. (Not unheard of among the street-style set.) There were loose, easygoing bermuda shorts and gym shorts in silk. Oversized blazers had a throw-and-go usefulness, though their floaty, money-print pattern seemed a little too jokey even for the peacocks. Even without that, there were plenty of pieces that should have legs. A dip-dyed slouchy caftan had both surprise and chic on its side, for instance. Meanwhile, a white leather jacket—even in the warm months, Acne will never go without leather—had the brand's name crawling up its sleeve. If Acne is entering logomania, it felt right that it would do so a bit askew. The street-style girl, Johansson said, is "using herself as a medium." Now he's using her, too.
|
Matthew Schneier
|
June 10, 2012
|
Jonny Johansson
|
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|
Jonny Johansson
|
Jonny Johansson
| 0
| 183
|
|||
Acne Studios
|
fall-2014-ready-to-wear
|
https://www.vogue.com/fashion-shows/fall-2014-ready-to-wear/acne-studios
| 2,014
|
ready-to-wear
|
fall
|
There was a moment, not so long ago, when the clothes on Acne Studios' runways and the clothes in Acne's stores looked as though they'd gone their separate ways. The catwalk didn't reflect the Swedish label's streetwear roots. Founder Jonny Johansson set out to correct that last season to a lot of positive feedback. But in retrospect, Spring looks like a collection in reset mode, played out in a minor key. Today's show was much bolder. Johansson and his design team took bigger risks and reaped bigger rewards.Johansson was thinking about the sea. Before the show he explained that he'd spent the summer learning how to surf with his young children at his new beach house in Stockholm and on a trip to L.A., where Acne just opened a store. The personal nature of his starting point reverberated in a collection that connected on many levels.Inspired by the movement of water, undulating screen prints on tweeds keyed into Fall's developing story about optic patterns. In theory, psychedelic swirls paired with oversize leopard prints shouldn't work, but in practice they did. Sweater dressing is the season's hot topic, and Acne had ideas to contribute, including ribbed knits that draped the body like beach towels, and a more conventional pullover intarsia-ed with waves. Johansson said he was particularly proud of the sweater dresses, and he should be. Elsewhere, he tweaked classic workwear shapes in sunset colors and remade surfer staples like anoraks and long, slouchy board shorts in leather. As for the pom-pom hats, they were so crazy large they're all but guaranteed to be a massive hit.
|
Nicole Phelps
|
February 28, 2014
|
Jonny Johansson
|
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|
Jonny Johansson
|
Jonny Johansson
| 0
| 184
|
||
Acne Studios
|
fall-2014-menswear
|
https://www.vogue.com/fashion-shows/fall-2014-menswear/acne-studios
| 2,014
|
menswear
|
fall
|
Jonny Johansson's inspiration du jour was "winter beach." The rocky beaches of the Scandinavian peninsula are more existential than the usual Beach Blanket Bingo variety, and Johansson has lately had opportunity to spend some spiritual time by the water. "One year ago I bought a house in Torö. It was Ingmar Bergman's summer home in the sixties," he said. "It's quite far out and tortured." Which you could also say about the designer himself.But the slight chill in the air seemed to do the collection good. Last season's more conceptual antics—glam rock as inspired by the Swedish outsider artist Hilma af Klint—tested the resolve of Acne Studios' more pragmatic fans. But the label's taste for boundary-pushing waxes and wanes with the seasons. This was a realistic collection of pieces, not lacking in styling brio but not defined by it either. Maybe things were grounded by the emphasis on functionality. That can mean many things. It can be the functionality of a waterproof parka in neoprene; or of a pant made modular by the addition of zippers at the ankles to expand or constrict the shape; or simply the functionality of agreeable pieces, like brushed alpaca topcoats, popover anoraks, and satin varsity jackets, that don't overreach into unnecessary avant-garde territory. The beachy palette of sand, blush, and camel gave it all a new freshness for winter.The collection served as a happy return to a more restrained form. Those who might regret that need only wait. A few long foiled layering pieces and shirts hanging down well past waist level suggested an idea still in development. "A lot of guys in the office wear skirts," Johansson said with a note of bloodhound curiosity. The pendulum will no doubt swing again.
|
Matthew Schneier
|
January 17, 2014
|
Jonny Johansson
|
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] | 0
|
Jonny Johansson
|
Jonny Johansson
| 0
| 185
|
||
Acne Studios
|
pre-fall-2014
|
https://www.vogue.com/fashion-shows/pre-fall-2014/acne-studios
| 2,014
|
pre-fall
|
Pre-Fall gets knocked as the most purely commercial season. But commercial needn't mean boring, as Acne Studio's Jonny Johansson understands. Indeed, Johansson is one of those designers who seems to thrive under constraint: This collection benefited from its refusal to be statement making, with pleasures derived from the interesting mix of materials at play and the relatively gentle attitude of the clothes. There's always a kind of urbane toughness to Acne, and this collection was no different, but it made sense when Johansson explained that his main source of inspiration was the time spent in fall and winter at his relatively new beach house outside Stockholm. There was something earthy, in the most literal sense, about the way the designer mingled the textures of Persian lamb and felted or boiled wool with slick silk, leather, and neoprene; meanwhile, numerous wrapped, draped, and folded wool pieces looked like they'd been riffed off of beach blankets, the kind you wrap up in for a walk along the shore on a brisk day. The typically excellent Acne outerwear had a likewise easy feel, with the standouts being Johansson's new motorcycle jackets executed in shearling, and his color-blocked, quilted anorak, which cinched ever so neatly at the waist. Stovepipe leather and second-skin neoprene tops aside, you couldn't help but feel like this collection just wanted to give you a big hug—a feeling underscored by Johansson's use of naive floral appliqués based on cutouts made by his son. Bless.
|
Maya Singer
|
January 6, 2014
|
Jonny Johansson
|
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|
Jonny Johansson
|
Jonny Johansson
| 0
| 186
|
|||
Acne Studios
|
spring-2014-ready-to-wear
|
https://www.vogue.com/fashion-shows/spring-2014-ready-to-wear/acne-studios
| 2,014
|
ready-to-wear
|
spring
|
When a brand starts showing on the catwalk, it's entirely proper for the scale of its ambitions to expand. In the past few seasons, though, it's been hard to escape the feeling that Acne Studios was perhaps getting ahead of itself. The collections kept metastasizing, in a completely literal sense, as though expanding the volumes and stretching the proportions of the clothes themselves would suffice to justify Acne's presence on a runway. To put that more plainly, the collections were starting to come off a touch puffed up. This time out, however, Jonny Johansson and his design cohort reeled themselves in.This collection marked an explicit return to the brand's roots, in various ways: There was an emphasis on denim and on workwear-inspired styles, and more generally, the collection was very, very Swedish. Indeed, its starting point, according to Johansson, was the poem "Till Havs," as performed by the Swedish opera singer Jussi Björling; showgoers today were treated to a very galvanizing rendition of the tune. And then they were treated to a fast-paceddéfiléof the most accessible looks Acne has shown in a while. There's going to be a sizable constituency for this season's white laser-cut leather pieces, for instance, not to mention the oversize button-downs, elasticized bustiers, and tonal denim. "Till Havs" translates as "At Sea," and the collection thus reflected a mariner theme, with lots of seafaring stripes and naval peacoat styles; in a puckish touch, there were also tiny anchor-shaped embellishments. Johansson hasn't jettisoned his taste for largeness entirely: There were a handful of webbed knits with sleeves that extended past the fingertips, for example. But in general, this collection felt refreshingly measured. The only complaint here, really, was that Johansson pursued a few too many ideas; a stiff edit would have made this a stronger outing. Still, the ship has righted itself.
|
Maya Singer
|
September 27, 2013
|
Jonny Johansson
|
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|
Jonny Johansson
|
Jonny Johansson
| 0
| 187
|
||
Acne Studios
|
spring-2014-menswear
|
https://www.vogue.com/fashion-shows/spring-2014-menswear/acne-studios
| 2,014
|
menswear
|
spring
|
The Swedish outsider artist Hilma af Klint is having a mini moment, thanks to a Stockholm retrospective of the wall-size abstract drawings she made at the beginning of the twentieth century. One of her new adherents is Acne's Jonny Johansson. He was so taken with the mystical af Klint, who aimed to represent the philosophical ideas of her day in her work, that he dedicated his Spring men's collection to her. "She was before Mondrian, she was before Kandinsky," he was marveling as he flipped through the exhibition catalog. He might just as well have gestured up at his clothes. He'd adapted her pieces into the collection's prints. "When I saw her color palette, I thought this is my color palette," he said, pointing to her milky pinks, yellows, and blues. "I relate to this. Everyone thinks of Sweden as gray. I don't relate to that."Those who see things differently often find that their visions look odd to others. That's a common enough Acne pitfall. The ledge was close here. You could look at the foil-stamped linen suiting and puddling, yard-wide chinos and see a young club kid's fantasy; Johansson, wide-eyed, professed to see the sea. Probably it was both. This collection, which sat tapered-to-extremes suiting next to those mega-trousers and raw-edged fraying jackets and cocoon coats inspired by fifties couture, was a kitchen-sink-and-all doozy. But that is the philosophical idea, circa 2013: The ideas aren't in the mix, they are the mix. If it doesn't always go down smoothly, that's the price of admission. It's one Johansson is willing to pay. "I would like to be a sign of the times if I can," he said. "Whether good or bad, I want to be doing something contemporary."
|
Matthew Schneier
|
June 27, 2013
|
Jonny Johansson
|
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|
Jonny Johansson
|
Jonny Johansson
| 0
| 188
|
||
Acne Studios
|
resort-2014
|
https://www.vogue.com/fashion-shows/resort-2014/acne-studios
| 2,014
|
resort
|
Only at Acne does a collection premised on a "functional gardening look" include a gold-foil-stamped linen suit. Or a pair of swingy shorts covered in iridescent sequins. Disco horticulture!But the antic energy Jonny Johansson brings to Acne's women's collections—one he conserves for the workroom, to judge from his plainspoken explanations—has a fizz that can't be denied. On a wet, gray June day, it was hard not be grateful for that, and for the tropical Jack Pierson photographs that were blown up to set the stage for the show. Johansson explained that he'd recently bought a new house in Stockholm with a beautiful, ruined garden. He was fascinated with the idea of coaxing life out of it. Thus the new collection. It may come in hothouse colors, but that's how Acne's garden grows.In fact, this felt pared back from some of Acne's recent outings, with their wild, inflated volumes. Here, the air had been let out a bit. What seemed like acres of fabric still flowed—some of the long sheaths had tails so long they needed knotting together—but they followed a more natural line. Is that something to do with Melanie Ward, the stylist most famous for finessing Helmut Lang's less-is-more collections in the nineties? Maybe. Resort marked her debut styling the show.But primary credit to the designer, in whom the garden brought out the best. There was a great knock-around jacket in garment-dyed cotton with ponyskin patches that actuallydidlook ready for a tumble in the dirt. The workwear bit may have disguised some of the glamour—that bustier top will look great without the shirt, on anyone with the toned abs that are emerging as Resort's must-have accessory—but there's also a kind of outré glamour in work, too. It was hard not to think of Katharine Hepburn, making her sole Oscars appearance in her gardening togs, outshining the rest of the world in their gowns.
|
Matthew Schneier
|
June 9, 2013
|
Jonny Johansson
|
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|
Jonny Johansson
|
Jonny Johansson
| 0
| 189
|
|||
Acne Studios
|
fall-2015-ready-to-wear
|
https://www.vogue.com/fashion-shows/fall-2015-ready-to-wear/acne-studios
| 2,015
|
ready-to-wear
|
fall
|
Acne held its show at the Pompidou Centre. The crowd on the outside of the windows was as many rows deep as the bleachers set up inside the famous museum. What could they have made of this collection with its sturdy tweed coats, their extreme volumes wrestled under control by thick rope lacing, and its sheer, breast-baring knits? Acne is a brand they're likely familiar with. There are three stores spread across the city, and its oversize motorcycle shearling from Fall '14 is on the back of every other model in town.It's hard to connect the dots between the unstudied cool of that moto jacket and the mostly overwrought clothes on the runway tonight. The coats, for the most part, were OK. Although there was a lot of superfluous rope crisscrossing this season's shearlings, outerwear is very much in this Swedish brand's wheelhouse. The Viviane Sassen imagery that was converted into a woven raffia and used for high-waisted jeans and a fitted shirtwaist dress was a tougher sell, as were the busy patchwork pantsuits. Freeing the nipple is all very well, but surely there's something more substantial that could've been done with knits, which are another Acne staple.Perhaps it's time for Acne founder Jonny Johansson and his team to go back to the simplicity of that sensational motorcycle shearling and start fresh. Either that or ditch the runway altogether in favor of a different way of promoting the brand. One suggestion overheard tonight: Throw a party. We know of at least a couple hundred people who'd be thrilled to show up. Their faces are pressed up against the glass at the back of these photos.
|
Nicole Phelps
|
March 7, 2015
|
Jonny Johansson
|
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] | 0
|
Jonny Johansson
|
Jonny Johansson
| 0
| 190
|
||
Acne Studios
|
fall-2015-menswear
|
https://www.vogue.com/fashion-shows/fall-2015-menswear/acne-studios
| 2,015
|
menswear
|
fall
|
Wow: banal with a twist—there's a collection summation that most designers would entirely lack the cojones to coin. But that was the essence of Jonny Johansson's languid précis of his references for the season. "It's about football [soccer], Harris Tweed, jogging—things men like," he said. "And being a bit banal about it."Johansson's insurance is that this collection wasn't banal in the least, although it used the Anglo-masculine generic as a starting point. Shirt checks were blown up, a Barbour-style waxed jacket was oversize, soccer numbers were unaffiliated and turned into relief on patched knitwear. The soccer shirt—a poly-who-knows-what garment that is both foul and addictive—was used as the template (but twisted) for a mid-layer. There was lots of tinkering with old English staples: A covert coat was trimmed into a jacket, and a white fleece had panels of houndstooth. The models wore oversize Michael Caine specs, makeup, and a positive message: Scarves read "Gender equality," and a crewneck was patched with "Radical feminist."Against this mixed mood board of manliness from the waist up was a heavy emphasis on leggings under layers beneath; the middle layer was shorts or detachable skirts pinned into jackets. Sometimes this silhouette (and that makeup) gave these looks a touch of the early Boy Georges—no bad thing.
|
Luke Leitch
|
January 24, 2015
|
Jonny Johansson
|
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] | 0
|
Jonny Johansson
|
Jonny Johansson
| 0
| 191
|
||
Acne Studios
|
pre-fall-2015
|
https://www.vogue.com/fashion-shows/pre-fall-2015/acne-studios
| 2,015
|
pre-fall
|
The general election in Sweden last September got Acne Studios' Jonny Johansson thinking about the Feminist Initiative, the country's left-wing political party. Though it didn't garner enough votes to earn a seat in parliament, the Initiative became something of a national cause célèbre for furthering gender equality today. Free association took him to broader sartorial notions of feminism, with particular focus on the early 20th century when women began to express their independence by borrowing from menswear and playing competitive sports.The collection began with a lilac sweater that swirled around the model's body, completely constricting her arms. What the giant knit had to do with independence isn't clear, but one could argue that it captured the offbeat, irreverent essence of the Acne Studios brand. Next came a sporty suit in zippered, sandy twill belted with a stylized bungee cord, followed by a roomy wrap coat in ivory boiled wool paired with abstracted houndstooth jacquard leggings. Tweed took many alternative forms, whether as an organza underpinning creeping out from a skirt or a reworked knit pattern. It also came padded on jacket lapels and pockets—and this detail alone was proof enough that the collection didn't get stuck in the past.But there was more to excite: Beyond the white turtlenecks, which confirmed a vaguely alpine theme (the models' ponytails looked like icicles), versions appeared in Solstiss lace under ski sweaters. The trickle-down of this look is guaranteed. As for the Say No to Drugs patches, they are an inside joke between Johansson and a friend in recovery. If not feminist-themed, they count as a rallying cry.
|
Amy Verner
|
January 13, 2015
|
Jonny Johansson
|
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] | 0
|
Jonny Johansson
|
Jonny Johansson
| 0
| 192
|
|||
Acne Studios
|
spring-2015-ready-to-wear
|
https://www.vogue.com/fashion-shows/spring-2015-ready-to-wear/acne-studios
| 2,015
|
ready-to-wear
|
spring
|
Waiters were serving naughty canapés as people filed into the Acne Studios show this afternoon. The treats went along with the collection's suggestive prints, which collaged naked nether parts with pieces of fruit and vegetables, flowers, and tubes of lipstick. Made in collaboration with the artist Raquel Dias, they looked like they could've been creative director Jonny Johansson's tweaked take on classic Hermès scarf prints, an impression that was accentuated by the retro aviators and chunky I.D. chain necklaces the models sported.Backstage Johansson said he's been captivated lately by young people's affection for and appropriation of luxury goods, the implication in the statement being that the phenomenon isn't an experience he remembers from his own Swedish youth. But was he endorsing the current situation or poking fun at it? It wasn't always clear. In the case of a strapless minidress made from a teal green terry cloth towel—spa day!—it seemed like Johansson was taking the piss. As for the louche, slightly 1970s tailoring, more often than not it just felt like the models could've used a shirt. But if "haute bourgeois fresh from an afternoon assignation" isn't the most natural fit for Johansson and his Acne label (he's always been a big proponent of fashion androgyny, after all), there were pieces here that felt on-brand. The leather outerwear was typically strong, and we liked the look of two fluid dresses in acid shades of yellow and fuchsia. And you just know that the Instagram generation is going to go crazy for the naughty prints.
|
Nicole Phelps
|
September 27, 2014
|
Jonny Johansson
|
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] | 0
|
Jonny Johansson
|
Jonny Johansson
| 0
| 193
|
||
Acne Studios
|
spring-2015-menswear
|
https://www.vogue.com/fashion-shows/spring-2015-menswear/acne-studios
| 2,015
|
menswear
|
spring
|
Awkward, askew, askance.Those might have been the three A's knitted into baggy collegiate sweaters at Acne Studios, the increasingly refined Swedish label with the quotidian name. To be fair, the name isn't so much a name as it is an acronym for Ambition to Create Novel Expressions, which sounds much better, plus it's factually correct. Some of the novel expressions in Acne's Spring men's collection included plunging drop-crotch shorts; beaded, intentionally threadbare sweaters tied around the waist; giant-size knit caps; spray-painted stars on an oversize T-shirt; and a generous use of knowingly unbecoming browns.In typical form for Acne, a former denim label approaching its twentieth year, there was also a deliberate, clumsy squareness in the small offering, which creative director Jonny Johansson attributed to a one-size-up approach. "We've always done dry menswear," he said at the live presentation. "There might be a casual preppy vibe and we may work in masculine colors, but it's always in our own unique way."
|
Lee Carter
|
June 27, 2014
|
Jonny Johansson
|
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|
Jonny Johansson
|
Jonny Johansson
| 0
| 194
|
||
Acne Studios
|
resort-2015
|
https://www.vogue.com/fashion-shows/resort-2015/acne-studios
| 2,015
|
resort
|
Here's a good illustration of the present-day timeline of a trend: A year and a half ago, Acne Studios caused a minor frenzy among editors for the covetable, accessible take on major volume in its August Strindberg-themed Pre-Fall 2013 collection. The clothes that Acne showed this morning, meanwhile, served as the death knell for that exaggerated look, which Acne championed perhaps more than any other brand for the past few seasons. No magnified silhouettes, no proportions elongated to a Mannerist degree. As Acne's Jonny Johansson acknowledged after the briefdéfilé, this collection was all about realism. Inspired by Jeff Wall photos, Johansson's take on realism was dun-colored, for the most part, and aggressively lived-in—faded camo; pre-dirtied white leather; a long, pilled gray knit vest. Even the nattier items were blandly unpretentious, though the hip, cropped fit on a fantastic pair of mannish trousers, and details like the angled hems of a washed-out denim jacket betrayed the design intelligence attending these "generic" clothes.Genericwas Johansson's word, and as he allowed, finding ways to make familiar all-purpose looks seem new and non-invisible is more of a challenge than, say, conjuring a hypertrophied sleeve. But the additional effort paid off—one feels that Acne reallyshouldbe about looks like the dark denim skirt with kick pleats and matching snug jacket with toggles. Normcore? A little. But way nicer than plain old normal.
|
Maya Singer
|
June 9, 2014
|
Jonny Johansson
|
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|
Jonny Johansson
|
Jonny Johansson
| 0
| 195
|
|||
Acne Studios
|
fall-2016-ready-to-wear
|
https://www.vogue.com/fashion-shows/fall-2016-ready-to-wear/acne-studios
| 2,016
|
ready-to-wear
|
fall
|
An ’80s vibe has been reverberating on the runways in Europe this season, and the punk soundtrack atAcne Studiosthis afternoon was plugged into that vibe. Creative director Jonny Johansson has been a fan of Californian punk outfit the Cramps since his teenage years, and backstage after the show he admitted to fanning out when he met the band’s guitarist in New York. “The Cramps never really had hit songs, but they had a lot of attitude,” he said. “It was provocative, aggressive, and I wanted to bring that mood to what we do.” You need only browse the many performance videos on YouTube to get a sense for the band’s style and bravado. Known as Poison Ivy and Lux Interior, the two most striking members of the crew shared a fearless gender-fluid aesthetic, in which a casual look for a woman or man might encompass a pair of PVC panties, sky-high stilettos, and not much else.Johansson was among the first designers to jump on the pant-less trend, and this season he continued the theme with some novel takes on underwear as outerwear: PVC leotards and undies that were worn over stockings or skintight pants. The brand is never afraid to subvert traditional proportions, and the sinewy punk rocker silhouette was blown up big with XXL pants in heavy mohair and PVC. Those audacious experiments in form seemed to weigh down the collection in places, along with oversize woolen jumpsuits. The tailored holographic pants made for a better line, as did off-the-shoulder jackets. Outerwear is arguably Acne Studios’s strong suit, and their interpretation of the quilted coat was a nice addition to the ones we’ve seen coming through for Fall, even if the somewhat curious styling obscured some of the standouts. One orange coat in particular had a body-skimming fit that trumped the puffer’s shapeless associations.Acne Studios has a pretty strong track record for making compelling footwear, too, and though the baggy over-the-knee boots were in step with fashion’s current endless-leg obsession, they fell flat on desirability. In fact, it feels as if the Swedish brand has recently lost some ground in the streetwear territory they once laid claim to, ceding it to a new wave of rebellious streetwise designers. That said, they did find their footing with their bags for Fall, and the leather-lined bungee cord shoppers were a cool bit of arm candy that are likely to be a hit in all shapes and sizes.
|
Chioma Nnadi
|
March 5, 2016
|
Jonny Johansson
|
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|
Jonny Johansson
|
Jonny Johansson
| 0
| 196
|
||
Acne Studios
|
fall-2016-menswear
|
https://www.vogue.com/fashion-shows/fall-2016-menswear/acne-studios
| 2,016
|
menswear
|
fall
|
Militaria hackneyed? Not atAcne. After spotting pieces of Swedish army surplus on the streets, Jonny Johansson looked back to the nine months he spent in military service as a youth. “Mostly I was freezing my arse off,” he said, “sleeping under snow in the forest.” While serving his country, Johansson was issued a uniform that dated from the 1940s. To this baseline influence was mixed pink, lavender, a graphic ribbon squiggle, and some decorative eyelet detailing that were all drawn from Västerbottensdräkten, the folk costume particular to the canton of Swedish Lapland in which the designer spent a decade of his childhood.High-waisted, double-pleated tapered pants—quite formal—or patch-pocketed army pants were worn under reduced greatcoats, fitted micro peacoats, and maxi donkey jackets. A snap-front lavender suede shirt was layered beneath a padded gilet and above a long-skirted shirt in what looked like olive flannel or felt. A number of the shoes were most definitely felt—great fun, grafted loafer–sock hybrids. There was a bit of gray tailoring in nano-herringbone with distressed detail at its seams. Some of the color detail was lovely—if camouflage only at an extroverts’convention—like the teal leather pants that tanged against orange mohair socks.
|
Luke Leitch
|
January 23, 2016
|
Jonny Johansson
|
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|
Jonny Johansson
|
Jonny Johansson
| 0
| 197
|
||
Acne Studios
|
pre-fall-2016
|
https://www.vogue.com/fashion-shows/pre-fall-2016/acne-studios
| 2,016
|
pre-fall
|
Jonny Johansson has not achieved such consistent success withAcne Studiosby turning out ordinary clothes season after season. Motivated by cultural constructs, social anthropology, and the way people present themselves in the world, he often mentions researching an idea in depth before arriving at the first designs. From a time-warped youth recreation center in Paris, where a herringbone floor and peeling turquoise paint accented an indoor basketball court, he explained his fascination with teens who break off into cliques and mirror each other in how they dress. From there, he introduced five groups of four girls; they represented slick academics, alt artists, neo-grunge musicians. Not your average schoolyard gals, they seemed exceedingly unapproachable; yet this setup permitted Johansson to hedge a handful of nonconformist themes without overcommitting to one.In general, the collection favored elongated narrow silhouettes, expressive graphic color, and a revisionist spin on such grunge staples as the slip dress (especially in crushed velvet). A closer scan revealed how fabrics and shapes had been studied and developed: tailoring with subtle bouclé pinstripes, beading discreetly embedded alongside fringed embroidery, track pants in leather bonded to jersey, and pointed boot-pant hybrids extending to the mid-thigh. Sandals worn with heavy socks proved cool enough to be adopted by each group. But the queen bee piece was a fuzzy yellow plaid coat overpainted with a black-and-white grid, like an absurdist clash of Cher Horowitz and Mondrian.Despite its experimentation, the collection held a strong point of view. Once it reaches stores, women will buy into individual items—the shearling coat or padded pylon orange denim jacket—because they want dynamic outerwear, not because they identify with a clique. Unless of course, the clique is Acne Studios itself.
|
Amy Verner
|
January 11, 2016
|
Jonny Johansson
|
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Jonny Johansson
|
Jonny Johansson
| 0
| 198
|
|||
Acne Studios
|
spring-2016-ready-to-wear
|
https://www.vogue.com/fashion-shows/spring-2016-ready-to-wear/acne-studios
| 2,016
|
ready-to-wear
|
spring
|
A bohemian circle of muses have been in heavy rotation for the last couple of seasons—Joni Mitchell, Janis Joplin, and the like—but now it seems that things in fashion might be moving to a new musical beat.Acne Studios’ creative directorJonny Johanssonis certainly keen on pressing the fast-forward button, and his latest collection vibrated with an energy that fell somewhere between ’80s electro and ’90s rave culture. Electric guitars made of chrome and plexiglass, which embellished the length of cropped trousers and boxy suiting, were the most obvious leitmotifs here. More convincing, though, were the eye-catching optical polka-dot prints that resembled the dilated pupils of euphoric ravers, on floor-length velvet and silk dresses that were fastened in the back with guitar-like straps—a cool take on the slip dressing trend.If one were to peg the collection to a stylish musical icon in particular, it would likely be Grace Jones. The radical 67-year-old Jamaican singerjust published her memoirs, and has been inspiring a new generation of fans with her risk-taking sorry-not-sorry sense of style. Jones recently caused a stir at the Afropunk Festival in New York wearing one of her many elaborate costumes (it involved little more than a corset G-string body suit, and a Hula-Hoop that she kept spinning around her lithe torso). The blazers-cum-minidresses that Johansson paired with short-as-you-dare hot pants and statement asymmetric shades were a look that Jones could pull off to this day, though it’s doubtful who else could, besides superstar bad gals like Rihanna perhaps, who has been making headlines with her pantless ensembles all summer long.In some ways it felt as if part of the grounding street smart vibrations that first propelled Acne into the spotlight were lacking today; the cut and fit of their original oversized biker jackets and shearling coat is still hard to beat, after all. Still, warm-weather dressing isn't something that Nordic fashion folk have much time to experiment with. The discharge-print boy racer tees and charming checkerboard slip-on Moroccan slippers, on the other hand, are likely to be a hit with the first bloom of spring.
|
Chioma Nnadi
|
October 3, 2015
|
Jonny Johansson
|
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Jonny Johansson
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Jonny Johansson
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