Clearly, designers have been paying attention to the bleak states of the European and U.S economy. It seems to me that they’ve been seeking inspiration in the Orient in an attempt to instil a little fashion-based exoticism into our lives.
But don’t be mistaken, the new East-meets-West trend isn’t harking back to the umbrella-bearing and floor-length kimono-wearing ‘Memoirs of a Geisha’ style women. Nor is it a look to the classic cheongsam – remember those cute Chinese mandarin collar dresses with the silk buttons we all used to wear circa 2002? The Oriental woman is a tough, modernised version of an Eastern classic. Perhaps, to put it simply, Geisha meets androgyny.
It started with Jason Wu, who returned to his Chinese roots to deliver his serving of Eastern inspiration. Though he has always shied away from his Chinese heritage, it seems he’s found the answer in brocade. He may have served true to his traditional classic, feminine silhouettes, but it by no means led to a shortage of extravagancy in the 29 year old’s collection. Drawing on influences from China’s communist history, Wu led an army of military styled woman out onto the runway, all adorned in a mixture of rich textures. Velvets, satins and brocades provided Oriental accents to an androgynous presentation. Wrap skirts, drainpipe trousers, double breasted blazers and mandarin-collar coats were juxtaposed with the most luxurious of Eastern-inspired embellishments. Fur collars, silk ties, waist-cinching belts, key-hole cut outs and thigh-high splits all added subtle sex appeal.
Following in the footsteps of Wu, Proenza Schouler climbed aboard the proverbial Orient Express, offering a ‘toughened up’ version of Wu’s warrior women. Designers behind the brand, Lazaro Hernandez and Jack McCollough, spent a month exploring the mountainous regions of Bhutan and Nepal for Eastern inspiration. The designs emulated that of traditional Bhutanese dress – the men’s gho robe, the women’s kira, elements of the cheongsam (a body-hugging Chinese dress) and toego (a style of Bhutanese jacket) were ever present in the duo’s designs. The styles were cleverly manipulated onto Western outerwear pieces such as the biker jacket, exaggerated pea coats or oversized slouchy sweatshirts. Leather and cotton textures were given a makeover, becoming quilted, blistered or perforated, and detailed duck-egg blue or burnt orange Eastern screen prints were grafted onto brocades. Shapes were asymmetrical and oversized. Prints were elaborate and detailed. The influences of the Orient were effortlessly westernised.
However, Osman’s Autumn/Winter 2012 collection looked to the past for his Oriental influence. “The collection’s starting point was the fall of the Ottoman Empire in the Balkans, as captured in some of the world’s first colour photographs by Albert Khan”, he explained. “The pieces worn by the men and women in those images inspired me – opulent and beautiful, but still simple”. The collection was a far cry from his more understated past efforts, although some silhouettes reminiscent of his previous offerings did filter through. He opened his show with just a peek of elaborate brocade placed onto the simplicity of a crisp white shirt: a teaser to a spectacular presentation of the full blown print-on-print ensembles to follow. Osman’s flare for tailoring boasted decadently clashing prints on experimental shapes. His showstopper displayed the ultimate in Oriental-inspired elegance: a black-gold brocaded, slightly dipped hem strapless dress teamed with the same brocaded skinny trousers. Summed up, Osman’s designs were the Minimalist’s take on the Maximalist.
Dries Van Noten’s Autumn/Winter 2012 presentation was another serving of Eastern promise. Beginning a complex design process, the designer first visited the Victoria Albert Museum in London to view and take inspiration from their collections of decorative arts and costumes. He then embarked on journeys to China, Japan and Korea where he photographed costumes and textiles in order to arrange them onto various pieces displayed in his collection. Rather than emphasise intricate details, Van Noten zoomed in on his prints to create a more geometric and segmented approach to Oriental traditions. There was a wide-ranging colour palette: bright blues and vivid orange tones were placed against the harshness of minimalist shades and balanced by simple shapes. Overall, Van Noten’s take on an Eastern classic was thoroughly modern.
It’s not only the top designers that have showcased the Orient to its full potential. High-street stores Topshop, River Island and Asos show just how easy it is to inject some Eastern glamour into your wardrobe. Go all out in head-to-toe brocade, offset an Oriental statement piece against a classic silhouette, or – if you want to try the trend but are slightly in awe of how to execute it – have no fear in heading straight for the accessories department!
Images Sources:
http://style.mtv.com/wp-conten…
http://www.fabsugar.com/Proenz…
http://benjaminkwanphoto.files…
http://kentonmagazine.com/wp-c…
http://www.asos.com/ASOS/ASOS-…