You know– the hems have little silver chains hanging off of them, said the photographer, who had gone backstage to take some photos. Oh, that’s delicious, I said. We were milling about the halls of Milk Studios in Chelsea and we had just witnessed Rad Hourani’s Spring 2010 line. After a week full of light ruffles & floaty gowns in pastel colors and coral hues, the dark, minimalist vision that greeted us down the white-washed runway was a welcome change. Here was the stripped down, sleek aggressiveness that I equate with fashion militia—you know those kids- they club, they ride the subways, they cluster in dark little herds and host late night fetes in hotel rooms.
Anyway, it was here: forget the fashionista. There’s a dark child that has arrived and it is the fashion militia. And Rad is leading the pack. He is a young designer who has been compared to Helmut Lang and Ann Demeulmeester. He has had no formal design training, which is surprising. He worked mostly as a stylist and videographer. In past interviews, he has said he designs clothes that he would like to wear himself and credits his years as a stylist as key to his construction of clothing.
And what a collection it is: The hardware was awe-inspiring. The leggings were exceptional. Sleek & slitted like gills and then dark layers, almost origami-like.
Skinny stovepipe pants were laced up horizontally with chains, the motorcycle vests had straps and dripping silver, sheaths were stark white or stark black with dark strappy bustles attached to the back. Models were pale white, hair slicked back in severe pony tails. Cult followers love his urban androgyny. I never picked up the sense that he was playing with gender issues; it felt more like he was grappling with fashion rules. It’s supposed to be a spring show—and while I didn’t anticipate gowns—I certainly did not expect cut up leather, white jeans with dripping silver details and elastic straps. It’s sort of the raw energy of punk, mixed with an Asian refined elegance. That’s about as close to how I can describe it. Whatever it is, I hope he continues exploring his own aesthetic.
– Jeanie Kwak
Photos by Nari Kim
I really like the idea of a man who can breeze into, say, the Plaza hotel with a crisp black blazer, aviators, cropped trousers and a loose tank. This man would look tailored, classic but still modern. And what do we mean when we say modern? Modern as in relevant, a reflection of the times, while still remaining classic. Miguel Antoinne premiered his Spring/Summer 2010 collection at Studio 450, a gorgeous white washed loft, the perfect setting for the show we were about to witness. His inspiration was the sudden beauty one experiences in a thunderstorm, the calm before lightning strikes, the tension and stillness. You can see it in his crisp shirts, you can see how the stormy colors make its way into his pebble washed cotton tanks and woven shirts. Zig-Zag patterns could be found on suits, dark patterns repeating on white linen. The tailoring is sharp and the silhouette is clean, while the shirts seems softer to provide relief. Tailored shorts were high-waisted and dare I say it? Sassy. It’s a wonderful, fresh look. Trousers were smartly cropped (the hem can be manipulated to be shorter or longer) and were worn with shiny patent leather brogues. Tuxedo blazers were reinvented with inset lapels, which were a nice touch. A wonderful, invigorating collection.
An “unabashedly pretty and feminine” siren takes center stage for Tibi’s Spring 2010 collection. Draped bias slip dresses in silk and chiffon layers provided the canvas for this lush presentation. “Great Expectations” opened the show, solid white cascading down the runway with a grand beaded blossom. A strappy, frothy gown sported a suede fleur appliqué down one shoulder. The two-tone ruffled sheath dress takes a bold step forward. This evening, Fern Gully came to life in a plethora of floral and foliage motifs.