First thing you notice in Raf Simons‘ spring-summer 2018 collection for Calvin Klein is that he’s the man of consistency. The first looks – the new CK uniforms – were the cowboy shirts in heavy colour block, the same as we’ve seen in his debut collection last March. The shoes haven’t changed dramatically, too. The venue took place in Calvin Klein’s headquarters and it was again covered with Sterling Ruby’s installations, but the main motif was actually quite disturbing- knife and blood. Were horrors and criminals on Simons’ mind?
At Klein, he’s a fan for American symbolism, and thrillers are very well rooted in American cinema – wherever we speak of mid-20th century or 2017. To grasp the idea of crime-drenched drama in his new season evening wear, he pulled off 50s looking ball gowns (surprisingly constructed using vinyl). Some of the leather coats looked as if they were blood-stained, which gave the audience a thrill. Horror film vibes got even more serious when latex gloves emerged down the runway – the high fashion reminiscent of Jason’s mask from Friday 13th, some noted. But that wasn’t the end of the American obsession. For this season, the brand collaborated with Andy Warhol Foundation on prints, using some of the lesser known elements of the artist’s works on trousers, t-shirts and dresses. Simons shakes things up again, in a very sinister (even as for him) manner.
Collage by Edward Kanarecki.
John Galliano AW07 was inspired with Pigalle girls from Paris, wearing all these ornamental boudoir dresses and strong colour of red on them. From veiled streetwalkers to girls that had been dancing all night, models appeared with dripping make-up and carrying eerie broken dolls. The runway was like a fantastic dark circus- dusty and dark!During the Alexander McQueen show in AW06, models wore reindeer horns on heads, nomadic inspired dresses, gothic black gowns and amazing witch coats. That was the real fantasy of McQueen’s world we love. And definitely this collection would make at a haunted castle Halloween party…These knitted veils from Rick Owens AW12 collection channeled brutalism. Drawing on the classic beauty of Marlene Dietrich, a 1920’s bisexual icon who openly defied sexual norms, the model’s look was honeydew skin, coral lips and combed brows fenced by masks of gunmetal grey. Flowing volumes provided protective layers for his dominatrices whilst the silhouettes created a confusion of sinister and sexy. Relentless flames singed at the top of the runway as the models stalked the east side of Paris.Iris Van Herpen Haute Couture AW11 was a mix of skeletal silhouettes and organ-like textures. Coiled intestines, brain tissue and snake dresses aided the vision of couture cyborgs, confirming the ongoing influence of anatomical, architectural and scientific structures in her space-borne collections. Still sits in some’s nightmares.Gareth Pugh AW13 was a dull collection of recycled gowns with feathers, wood, trash bags… The headpieces made as shake, and the amazing deepness of darkness was a bit depressing. That’s what is called a scary Halloween couture. Costing a fortune, by the way…
Thom Browne’s SS14 collections not only made us all scream, but it too took to another level of Tim Burtons fashion story… The abysmally white collection full of bloody lips, ghosts and fashion demons certainly can be counted into one of the scariest moment of fashion season… Thom’s dull collection is not just surrealistic, but very killing with it’s beauty!