tag:blogger.com,1999:blog-61273774201502460292024-02-08T05:48:33.843-05:00royboticsteezroybothttp://www.blogger.com/profile/08405023036068995881noreply@blogger.comBlogger424125tag:blogger.com,1999:blog-6127377420150246029.post-61535960026336849862010-03-16T10:53:00.003-04:002010-05-25T15:14:10.448-04:00I'VE MOVED<font size=175><a href="http://oiroy.blogspot.com">HERE</a>.</font size><br /><br />felt like it was a good time for new beginnings.roybothttp://www.blogger.com/profile/08405023036068995881noreply@blogger.com1tag:blogger.com,1999:blog-6127377420150246029.post-18203564520969616732010-02-11T17:55:00.005-05:002010-02-12T10:27:37.315-05:00FOR WHOM THE BELL TOLLS<center><img src="http://i747.photobucket.com/albums/xx112/royboticsteez/accessible_1.jpg"></center><br /><br />i remember the first time i ever heard about mcqueen. it was a saturday evening about 6:30 and i was still in high school doing what i usually do at around that time every saturday evening, watching fashion television. <br />i've never heard of the designer who was being profiled at that moment. all i remember thinking to myself was how pompous and pretentious i thought that guy was for turning his face away from the camera while he was being interviewed. at that time london was more known for being this circus in the fashion calendar where the only thing that mattered was to shock and very little else. so my first reaction to the collection with the ripped tartans and lace with the freaky contact lense was just another gimmick from another flash in the pan. and bumster pants...yeah right. <br />that was my first introduction to mcqueen. and while i dismissed him at first as just another attention seeker, i found myself almost helplessly attracted to his work. in many ways he was the one who introduced me to the idea that fashion doesn't have to be "pretty". it could be provocative. it can be a political statement. or a big fat middle finger to the institution. when he opened my eyes to the possibilities of fashion, it made me realized that it wasn't just this adolescent hobby, it was something i really connected with. a medium that became my passport away from the mundane suburb i grew up in and over the years it took me to some of the most amazing joyrides of my life.<br />through mcqueen's romantic, and renegade sensibility it enabled me to define my own aesthetic. to not be scared to be different. to dream the biggest dreams you can and wear your heart on your sleeves because it doesn't do anything covered underneath your skin.<br />i'm pretty sure many will remember him as fashion's enfant terrible or his memorable runway presentations. but for me he was so much more than that. and as i read threads all over the internet the most poignant thing many has said was that he was the one who gave them that connection with fashion. its not easy to be inspirational in such an uninspired world, and the world has gone much dimmer. good bye mcqueen. thank you for having the guts. i just wish you had the guts to hold on a little longer.roybothttp://www.blogger.com/profile/08405023036068995881noreply@blogger.com3tag:blogger.com,1999:blog-6127377420150246029.post-6923040650970724062010-01-28T01:18:00.003-05:002010-01-28T01:27:44.260-05:00COUTURE CLOSE-UP: SPRING/SUMMER 2010<CENTER><img src="http://i747.photobucket.com/albums/xx112/royboticsteez/chanel-hcss10-detail-1.jpg"><br /><img src="http://i747.photobucket.com/albums/xx112/royboticsteez/chanel-hcss10-detail-2.jpg"><br /><img src="http://i747.photobucket.com/albums/xx112/royboticsteez/chanel-hcss10-detail-3.jpg"><br /><img src="http://i747.photobucket.com/albums/xx112/royboticsteez/dior-hcss10-detail-1.jpg"><br /><img src="http://i747.photobucket.com/albums/xx112/royboticsteez/dior-hcss10-detail-2.jpg"><br /><img src="http://i747.photobucket.com/albums/xx112/royboticsteez/gaultier-hcss10-detail-1.jpg"><br /><img src="http://i747.photobucket.com/albums/xx112/royboticsteez/gaultier-hcss10-detail-2.jpg"><br /><img src="http://i747.photobucket.com/albums/xx112/royboticsteez/gaultier-hcss10-detail-3.jpg"><br /><img src="http://i747.photobucket.com/albums/xx112/royboticsteez/givenchy-hcss10-detail-1.jpg"><br /><img src="http://i747.photobucket.com/albums/xx112/royboticsteez/givenchy-hcss10-detail-2.jpg"><br /><img src="http://i747.photobucket.com/albums/xx112/royboticsteez/givenchy-hcss10-detail-3.jpg"><br /><img src="http://i747.photobucket.com/albums/xx112/royboticsteez/givenchy-hcss10-detail-4.jpg"></center><br /><br /><br /><br /><b>photo: 1-3 CHANEL, 4&5 DIOR, 6-8 GAULTIER, 9-12 GIVENCHY</b><br /><i>style.it</i>roybothttp://www.blogger.com/profile/08405023036068995881noreply@blogger.com0tag:blogger.com,1999:blog-6127377420150246029.post-68636133668124356932010-01-25T19:28:00.001-05:002010-01-25T19:29:49.913-05:00PARIS - MENSWEAR AUTUMN/WINTER 2010 - DAY FOUR<center><img src="http://i747.photobucket.com/albums/xx112/royboticsteez/lanvin-man-AW10.jpg"></center><br /><br /><center><img src="http://i747.photobucket.com/albums/xx112/royboticsteez/romainkremer-man-AW10.jpg"></center>roybothttp://www.blogger.com/profile/08405023036068995881noreply@blogger.com1tag:blogger.com,1999:blog-6127377420150246029.post-54871787772937272652010-01-24T22:09:00.002-05:002010-01-24T22:11:40.974-05:00PARIS - MENSWEAR AUTUMN/WINTER 2010 - DAY THREE<center><img src="http://i747.photobucket.com/albums/xx112/royboticsteez/rafsimons-man-AW10.jpg"></center><br /><br /><center><img src="http://i747.photobucket.com/albums/xx112/royboticsteez/damirdoma-man-AW10.jpg"></center><br /><br /><center><img src="http://i747.photobucket.com/albums/xx112/royboticsteez/diorhomme-man-AW10.jpg"></center><br /><br /><center><img src="http://i747.photobucket.com/albums/xx112/royboticsteez/ademeulemeester-man-AW10.jpg"></center><br /><br /><center><img src="http://i747.photobucket.com/albums/xx112/royboticsteez/miharayasuhiro-man-AW10.jpg"></center>roybothttp://www.blogger.com/profile/08405023036068995881noreply@blogger.com0tag:blogger.com,1999:blog-6127377420150246029.post-60172982872237606212010-01-22T21:53:00.006-05:002010-01-26T06:19:06.155-05:00PARIS - MENSWEAR AUTUMN/WINTER 2010 - DAY TWO<center><img src="http://i747.photobucket.com/albums/xx112/royboticsteez/cdg-man-AW10.jpg"></center><br /><br /><center><img src="http://i747.photobucket.com/albums/xx112/royboticsteez/ysl-man-AW10.jpg"></center><br /><br /><center><img src="http://i747.photobucket.com/albums/xx112/royboticsteez/vanbeirendonck-man-AW10.jpg"></center><br />at first glance, walter van beirendonck's most recent collection seem to be surprisingly tame for someone who is notorious for marching to the beat of his own drum. to see suiting (in traditional check patterns at that!) and shearling lined parkas worn with something as timid as a pique polo, that even when topped off with giant plastic earmuffs courtesy of milliner genius stephen jones, it was almost disappointing in its apparent lack of the mind boggling visual assault of his previous collection. no penis shaped masks, or tubular exoskeletons, nor big bird wings. not even big furry men as models. but as one of the infamous antwerp six who challenged the popular opinions of fashion in the eighties with their avant garde and belgian sensibilities, one has to realize that despite of its modest and cartoonish appearance, this collection was packed with van beirendonck's subversive take on the violent state of the world. amidst the colourful sweatshirts with keith harring-like illustrations were guns and tanks, a scarf that was shaped as a missile in flight and "w"s that signified war printed on sweaters in big, bold captial letters. when asked what it was that prompted him towards this direction the designer replied by saying that nowadays he always feels like someone is holding a gun to his head and that world feels like its always ready to explode. given the seriousness of the issue it shouldn't be taken as the designer taking a lighthearted approach to such a weighty topic. as one of the most underrated genius in the business, it takes someone with an intellect like van beirendonck with a deft hand with communicating austere issues that makes him one of the most provocative designers in world. <br /><br /><br /><br />photo: catwalking.comroybothttp://www.blogger.com/profile/08405023036068995881noreply@blogger.com0tag:blogger.com,1999:blog-6127377420150246029.post-42986162048710335692010-01-21T21:44:00.002-05:002010-01-25T21:30:19.526-05:00PARIS - MENSWEAR AUTUMN/WINTER 2010 - DAY ONE<center><img src="http://i747.photobucket.com/albums/xx112/royboticsteez/juunj-man-AW10.jpg"></center><br />entitled "hidden", korean designer juun j presented a collection that implied everything the title suggested. swathes of fabrics cocooned the body. a trend that has become one of the biggest themes that has come out of paris in the past few seasons and continues its momentum for 2010. voluminous coats were worn over drapey light weight jersey or fine gauge sweaters, a staple in every juun j collection realized in his familiar colour palette of greys and blacks in oversized proportions paired with drop crotch trousers that limited its volume to the upper half of the leg. he also displayed his ingenious way of using zippers not just as a decorative touch, but an added element that heightened the dramatic volume of the clothes that when unzipped revealed another layer in contrasting fabrics or colour. every part of the body was covered from the snood that acted as hood to protect the head to the gladiator style boots and sandals, no flesh was exposed. in summary it had all the trademarks of the young designer. surprisingly, after all the interpretations of military influence we've seen first in milan and then in paris, with special attention given to the trench coat, it was notably absent from the korean designer's runway. the same designer who has built his reputation partly because of his never exhausting ability to find new ways to tweak the iconoclast since his debuted his collection a few years ago. still, even without it, this was still a collection that displayed the growing confidence of a talented young designer. <br /><br /><br /><br />photo: catwalking.comroybothttp://www.blogger.com/profile/08405023036068995881noreply@blogger.com1tag:blogger.com,1999:blog-6127377420150246029.post-4146701228847279812010-01-19T17:47:00.010-05:002010-01-23T14:29:50.960-05:00MILAN - MENSWEAR AUTUMN/WINTER 2010 - DAY THREE<center><img src="http://i747.photobucket.com/albums/xx112/royboticsteez/moncler-man-AW10.jpg"></center><br />for moncler gamme bleu to succeed in such a narrow field such hi-performance luxury sportswear, it needed someone with thome brown's sense of humour to add an interesting dimension to what could otherwise be another bland hi-end performance line. his new take on the sartorial codes that has defined masculine dressing has influenced and provoked as much as it has been criticized for entertaining too much of his own personal fancies. since collaborating with the prestigious italian company he has proven that he is a much more capable and flexible designer that can take into consideration the needs of the moncler customer and its heritage, and at the same time be able to offer that man his own distinct aesthetic. which is his highly individual take on formal dressing that he has managed to adapt into moncler's repertoire. with his sense of theatrics, browne staged the collection with models asleep in the barracks in a uniform position in the same sleeping attire and suddenly awaken from the sound of a bugle horn. with the discipline of soldiers, all simultaneously arose and began to put on their parkas, anoraks, ski jackets, cable knit sweater and quilted suiting. ready for a trek on the italian alps the house originated from. for such an irreverent designer, it was surprisingly commercial without losing browne's trademark whimsy that his critics crucified him for before. browne has always been a very focused designer and it shows in the cohesiveness of his signature line, but here it was grounded in reality, give or take, because let's face facts, even the most adventurous of us won't step out of the house in a satin/fleece shirt nightgown. if he can find that focus again for his eponymous collection next month in new york, then maybe he can have the pleasure of for once silencing his critics.<br /> <br /><br /><br /><center><img src="http://i747.photobucket.com/albums/xx112/royboticsteez/marni-man-AW10.jpg"></center><br />consuelo castiglioni has always had the penchant to toy with ideas that recollect our childhood memories. with her every presentation it always feels as if we are watching a young boy playing dress-up in old man's clothes. the proportions are always a bit askew, the colours a bit odd, yet there is a formality about them. so there is always this playful naivete that makes her clothes so delightfully endearing. and it is that charm and youthful spirit that has made the house such a resounding success. but whatever childlike nonchalance the collections exudes, it is anchored with that milanese craftsmanship and some of the most developed textiles in the industry that gives the clothes a timelessness that makes it attractive to consumers of a broad age range. what we see during the presentation is castiglioni's vision. what consumers see on the sales floor are well tailored coats, luxurious fabrics and some of the most coveted accessories around, but all injected with that quirky marni signature so they never become mundane.<br /><br /> <br /><br /><center><img src="http://i747.photobucket.com/albums/xx112/royboticsteez/versace-man-AW10.jpg"></center><br />the versace man has always been a portrait of virile masculinity. while gianni versace's take was more about high gestures that verged on camp, this new versace man owes its character to its warrior instinct. this man is defiantly younger and more aggressive than his eighties and nineties predecessor, but at the same time its masculinity is on par with the versace of old who measured his manliness with his ability to enjoy the luxurious lifestyle he could afford and unapologetically flashed it with every opportunity. and the common thread that these two distinct male version of the same house share is their understanding and appreciation of the craftsmanship the house is synonymous with. displayed at this collection were some of the most impeccably tailored coats and suiting with some of the most complex pattern cutting shown in milan. solidifying the house's reputation with producing some of the most intricate cuts and fabrication in the industry. courtesy without a doubt by ex cloak designer alexandre plokhov's creative influence. since he was hired as a creative consultant for the menswear branch of the house, he has helped steer the brand out of its, for lack of a better word, gaudy reputation into one that is more congruent with the times. after all he was one of the designers who's work influenced today's definition of modern masculinity. and to further validate the point that this is still a classic versace collection, there was the reappearance of the iconic versace chain-mail mesh worked to appear as armour underneath those precision cut jackets.<br /><br /><br /><br />photo: marni-menstyle.it, versace-gq.comroybothttp://www.blogger.com/profile/08405023036068995881noreply@blogger.com0tag:blogger.com,1999:blog-6127377420150246029.post-63032186381447080582010-01-18T11:09:00.010-05:002010-01-21T23:40:43.474-05:00MILAN - MENSWEAR AUTUMN/WINTER 2010 - DAY TWO<center><img src="http://i747.photobucket.com/albums/xx112/royboticsteez/prada-man-AW10.jpg"></center><br />such is the potency of miuccia prada's vision that she is able to drastically shift direction from one season to next and never lose that inimitable factor that stamps her signature into everything she produces. abandoning the uber-urban aggressiveness of the past few seasons, her combined presentation for her men's fall 2010 and women's pre-fall collections saw prada revisiting some of the references that helped form the hallmarks of the brand during the nineties. this collection echoed much of england in the early seventies in the colour palette and geometric prints which ranged anywhere from abstract camouflage to three dimensional diamond shapes, to smart jackets worn over shrunken knits that gave it a sense of boyish naivete that gave a lot of her early menswear collection its inherent charm. it still retained the same youthfulness of her previous efforts, but after two consecutive seasons where all we saw was black, grey, and white on a predominantly narrow silhouette, to see this collection maneuvered around a serpentine runway with a soundtrack that was as erratic as the numerous video presentations on the wall with models coming out in groups reminiscent of helmut lang's old runway presentations, it was somewhat hard to dilute the clothes from the environment it was shown in. it didn't make sense. but then again when does prada ever make sense at that moment? its all the paradoxes, the little peculiar quirks such as the double collars on coats and shoes with a flapping tongue and her obsession with challenging herself by using fabrics she has no affinity for, which this season was moleskin, that she somehow manages to amalgamate together that eventually will form into a clear picture a little while after for everyone else. and then suddenly it's influence is omnipresent. <br /><br /><br /><br /><center><img src="http://i747.photobucket.com/albums/xx112/royboticsteez/fujiwara-man-AW10.jpg"></center><br />military inspired looks always surface with every menswear collections. it has become one of the most dominant sartorial influence in the western world where epaulets, brass buttons and pea coats have become iconic pieces in every man's wardrobe. masataka matsumura also chose to go with the military vein, but it was his homeland's historical soldiers the samurai where the designer drew inspiration from. such a powerful figure could have been overwhelming, but matsumura's work is always about a fluidity and serenity that it was the samurai's sense of honour, restrain and discipline that eclipsed the warrior persona. and it was that sense of restrain that gave the collection its focus that even with all the layering with different levels of volume which was directly inspired by the samurai uniform, it all worked cohesively as one picture. as the models paraded down the dimly lit runway they played the part of matsumura's young army in billowing pleated pants that was so full in volume it appeared to be a skirt, with most looks worn with an apron like appendage and to give it an urban edge, the designer injected the collection with plaids, leather and hi top trainers. presenting a modern take on an ancient idea. while the character looked like he was ready for battle in the urban jungle, he also gave the clothes a spiritual dimension. the same zen like spirit that permeates with all his collections where a fluid line works so harmoniously with a stricter, more defined cut. let's not forget, as brutal as the samurais were in the field of battle, they also considered the meditation of floral arrangements to be as equal a form of martial arts as sword fighting. <br /><br /><br />photo: catwalking.comroybothttp://www.blogger.com/profile/08405023036068995881noreply@blogger.com0tag:blogger.com,1999:blog-6127377420150246029.post-86774420168903387522010-01-17T14:20:00.017-05:002010-01-20T11:15:03.624-05:00MILAN - MENSWEAR AUTUMN/WINTER 2010 - DAY ONE<CENTER><img src="http://i747.photobucket.com/albums/xx112/royboticsteez/leshommes-man-AW10.jpg"></center><br />ever wondered what princess leah and mad max's child would look like? designers tom notte and bart vandebosch certainly did for they claimed to have been inspired by the movies star wars and thunderdome for their most recent collection. as disparate as those two reference points could be, somehow the designer were able to find a common thread to fuse the two together into a collection that didn't suffer from good showmanship with little real life substance. the duo actually managed to accomplish to send out a collection that had real commercial viability. yes its for a more adventurous man with the ingenious way they turned biker jackets into interesting blazers with knitted lapels or arms with zip closures and one's with padded shoulders to give it the appearance of an armour. pants came in a variety of silhouettes from slim to cropped above the ankle with pleats to provide a dynamic contrast with the usually narrow fitted jackets. at one end it had the peaceful countenance of a yoda, and on the other end that barbaric ways auntie trinity. it displayed the duo's highly original approach when it comes to re-interpreting classics and applying their own point of view to frame a clear picture. even with their strong inclination for schizophrenic references. and that sense of courage and humour is bound to attract more attention to these two highly talented designers. <br /><br /><br /><br /><center><img src="http://i747.photobucket.com/albums/xx112/royboticsteez/burberry-man-AW10.jpg"></center><br />"protect, explore, inspire". those were the three words designer christopher bailey used as a the backbone for one of his strongest colletion for the house that he famously rescued from duty free obscurity over a decade ago. the heritage of the one hundred fifty three year old house has always been the lifeblood of bailey's work, and for autumn/winter 2010 bailey revisited all the hallmarks that helped forge the spirit of the brand. the military and aviation history of burberry was the pulse that gave this collection its virility. the trench coat of course being the most famous which was so named after it became part of a british soldier's uniform during the trench warfare of world war one done this season with a sloping shoulder cinched on the waist that agitated its volume and one in leather with the same deep petrol blue. aviation flight jackets with an exaggerated shearling collar which will undoubtedly be a blockbuster success once it hits the sales floor came in various lengths and fabrication. and about every other incarnation of the military regimental uniform was sent down the catwalk adjusted slightly for the man who faces not battlefronts but the daily trials of the modern, urban way of life. though this collection is an homage to burberry's military endeavors, it also displayed the technological advances in fabric innovation that the house greatly contributed to which gave the clothes the functionalism to perform for some of the most reknowned explorers of the twentieth century. and bailey clearly didn't seem to neglect infusing this collection with the same spirit of masculine adventure.<br /> <br /><br /><br /><center><img src="http://i747.photobucket.com/albums/xx112/royboticsteez/jilsander-man-AW10.jpg"></center><br />raf simon's take on the evolution of the jil sander man since he first took control of the house three years ago is reaching the point where his sensibilities is becoming the dominant persona over jil's. that doesn't mean however that the spirit of the house and its values are about to be deleted. the genius of raf simons is his sensitivity to history and the meaning of the house that over the years have acquired some of the most devout followers in the industry. to compare his first collection for the brand and all his subsequent collections that followed that lead up to this, his most recent one, one gets a clearer picture that he's not supplanting sander's legacy, he's merely adapting his own vocabulary with the house and in turn it has produced some of the most well executed collections in recent memory. his ability to fully develop an idea with such precision and focus is extremely well suited with a new definition of minimalism. at sander where tailoring is paramount, simons' directional approach with the craft and his subtle way of playing with proportions and adding surprising elements, which this season was exemplified with the way he added geometrical shapes on jackets and coats as closures or flaps to cover pockets that were cut with a more arabesque line, he has managed to find the perfect symmetry with his own aesthetic and sander's practicality. while the looks that will have the most editorial exposure in a few months are the more experimental ones, there were also plenty to satisfy consumers who values the brand for its craftsmanship, fabric innovation, and timeless appeal. there were suits in traditional wool checks, oil slick puffa jackets, classic over coats and a growing focus on accessories guarantees that for the new decade will ensure the success of the brand and help it navigate the current economic climate. a testament to the power of raf simons' unyielding vision. <br /><br /><br /><br />photo: catwalking.comroybothttp://www.blogger.com/profile/08405023036068995881noreply@blogger.com0tag:blogger.com,1999:blog-6127377420150246029.post-88860086453081592832010-01-16T11:02:00.004-05:002010-01-18T11:16:14.735-05:00PRE-FALL 2010<center><img src="http://i747.photobucket.com/albums/xx112/royboticsteez/givenchy-PF10.jpg"><br /><br /><img src="http://i747.photobucket.com/albums/xx112/royboticsteez/celine-PF10.jpg"><br /><br /><img src="http://i747.photobucket.com/albums/xx112/royboticsteez/proenzaschouler-PF10.jpg"><br /><br /><img src="http://i747.photobucket.com/albums/xx112/royboticsteez/balenciaga-PF10.jpg"><br /><br /><img src="http://i747.photobucket.com/albums/xx112/royboticsteez/burberry-PF10.jpg"></center><br /><br />maybe i have fashion attention deficit disorder and i'm just too zealous to see new things from designers, but why do i like the pre-fall collection from the five houses above loads more than the main collection shown three months ago? i mean pre-fall and resort collections aren't exactly laboratories of ideas. they're meant to be straightforward whose main objective is to be commercial. there aren't complex reference points that would put these clothes in a trajectory that some will describe as "directional" (those balenciaga harem/track pant hybrid is of course an exception). yet it could be because it isn't weighed down by such things as narratives or themes that allows the designers a certain sense of freedom that it gives them liberty to make simple, beautiful garments that in many ways gives them a certain of longevity because it isn't likely to be as overexposed as some items from the main seasonal collections. and in this economic downturn, shopping pre-fall and resort seems like the most sensible option.<br /><br /><br /><br />photo: style.comroybothttp://www.blogger.com/profile/08405023036068995881noreply@blogger.com1tag:blogger.com,1999:blog-6127377420150246029.post-49087139852439018882010-01-04T21:36:00.004-05:002010-01-05T10:35:51.500-05:00THE BEST OF THE 2000s - THE COLLECTIONS<CENTER><img src="http://i747.photobucket.com/albums/xx112/royboticsteez/decade-1.jpg"><br /><img src="http://i747.photobucket.com/albums/xx112/royboticsteez/decade-2.jpg"><br /><img src="http://i747.photobucket.com/albums/xx112/royboticsteez/decade-3.jpg"><br /><img src="http://i747.photobucket.com/albums/xx112/royboticsteez/decade-4.jpg"><br /><img src="http://i747.photobucket.com/albums/xx112/royboticsteez/decade-5.jpg"></center><br /><br />at first i initially made a list of the collections that had the most impact and the ones that really shaped the decade, but as i was forming that list i felt that a lot of the collections that i myself personally loved was going to have to make room for the ones i really didn't have as much affinity for. so i thought to myself the hell with it. its not like i'm suzy menkes anyways. my opinions about fashion are just that, mine. it has no value or influence in the real world only to me. so here are the fifteen collections that really pulled at my heart strings and the ones that have directly formed my opinion on what fashion is and the one whose influence are reflected in my closet that i am staring at right now. mind you my closet is a very very very cheap imitation of the clothes shown above. i don't have jay-z money and my magazine collection probably costs three times more than my entire wardrobe. ok i'm exaggerating but i'm pretty sure that rochas dress from fall/winter 2003 is worth more than every single thing in my bedroom combined.<br /><br />p.s. i tried to be somewhat diplomatic and not have one designer on the list twice or three times, otherwise a third of the list would've been taken up by prada, balenciaga or dior couture. the ones above are my favorite collections of the decade by said designers. peace out!roybothttp://www.blogger.com/profile/08405023036068995881noreply@blogger.com0tag:blogger.com,1999:blog-6127377420150246029.post-79709271854222837312009-12-23T20:59:00.023-05:002010-01-03T22:07:52.340-05:00THE BEST OF THE 2000s - THE MODELS<center><img src="http://i747.photobucket.com/albums/xx112/royboticsteez/models-W2000s.jpg"></center><br /><br />in the beginning of the new millennium the runways of the fashion capitals was ruled by the brazilian bombshells spearheaded by the likes of gisele bundchen, caroline ribeiro and fernanda tavares. models who's bodies and searing sensuality was the direct opposite of the boyish waif frame that has been in vogue for the better part of the nineties. these models however, much like the supermodels who preceded them a decade earlier, were able to balance high paying and high profile jobs such as victoria's secret and still be in demand with high fashion clients who normally tend to favour more directional looking models which has been de rigeur since kate moss exploded into the fashion consciousness. however since fashion is a notoriously fickle industry, the demand for something new, and by new meaning the complete opposite of the popular, the brazilian domination of the catwalks was about to make way for a new crop of models that defined their own respective timeline in the industry.<br />perhaps the first real trend to come out of the naughties was "butch chic". personified by eleanora bose and omahayra mota, they took fashion's long fascination with androgyny into a whole new level. it's aesthetic was harder, more aggressive and during the spring/summer 2001 shows when one of the biggest themes to emerge was a play between masculine and feminine tailoring, it was perfect timing for bose and mota.<br />the "butch chic" look however became victim of fashion's incessant attention deficit disorder and by next season a new wave of models, this time hailing from belgium came in vogue. kim peers, the first of the belgians to break out and favored by marc jacobs and tom ford for her brooding, intellectual beauty paved the way for an oost, anouk lepere, anne catherine lacroix, delphine balfort, and elise crombez. the latter who's career skyrocketed when she was chosen to front prada's spring 2003 ad campaign. one of the most influential campaigns in the business which has been responsible for launching the careers of many successful models. one of which would be the most successful model of the decade, daria werbowy.<br />the canadian model that holds the record for most show opened in a single season. she became the face of prada's first perfume campaign and went on to star in its ads for four consecutive seasons lensed by steven meisel who also put her on the cover of italian vogue three times in 2003. contributing to the well known fact that canada produces high quality models that continues to carry the torch once held by linda evangelista and yasmeen ghauri. and when modelling entered its next phase, it was canadians jessica stam, heather marks, and lisa cant that would capture the photographers' fascination with the doll like face that became in demand in the middle part of the decade.<br />as prolific as the canadians were in this new school of beauty, it was australian gemma ward that perfectly encapsulated the doll like aesthetic. with her wide blue eyes, round shaped face, button nose and downturned lips, ward became a favorite among many highly influential photographers. her chameleon like ability to be girlish and sweet in one shot to a vamped up woman in the next frame, then rebellious street urchin next, ward's versatility made her one of the most in demand models of the noughties. starring in ad campaigns for prada, burberry, balenciaga, and dolce and gabbana to name but a few.<br />russia too had an answer for the doll like craze in vlada roslyakova. a favorite of christian lacroix who chose her to become the bride for his last four couture shows. a position once held by another doll faced beauty, english model lily cole. the last few years of the decade saw an explosion of russian beauties on the international catwalks. currently on models.com top fifty ranking, there is an impressive fifteen russian models that occupies the spots. with the number two slot shared by sasha pivovarova and natasha poly. with the amount of magazine covers, campaigns, runway and editorial work that have been accumulated by pivovarova and poly, the top honor for russian model of the decade however goes to natalia vodianova. the only other model who can contest with werbowy's success.<br />one of the handful of models who was able to land a solo cover for american vogue, vodianova has managed a level of success that even after taking three separate hiatus from modeling as a result of giving birth to her three children, she is still in demand with fashion's most influential movers. rarely appearing on the catwalks and when she does its to open balenciaga, vodianova's timeless beauty with it's lolita-esque appeal with an expressive face has made her the choice representative for brands as diverse as calvin klein who she was the face for for most of the decade, to louis vuitton and l'oreal. in vogue's "model as muse" issue in may of this year she potrayed nine of modelling's most iconic faces. i think its safe to bet that in a few years she too will be remembered as one of the great ones and many future models will channel her timeless appeal.<br />in the latter part of the decade, one of the fashion world's most unresolved and undiscussed issue was brought into the forefront, that of the lack of models of colour on the international runways and magazines. not much has changed in the new millennium but as the decade ends it is showing some signs of promise. <br />after ten years jourdan dunn became the first black model to walk the prada runway since naomi campbell. chinese model du juan fronted the armani campaign and for the autumn/winter 2009 collections liu wen top the list of most shows walked. however it was vogue italia's landmark "black issue" in july 2008 with an all black cast with four covers that became the loudest statement about race in the history of fashion publication.<br />one of the models that graced one of the four covers for that issue was ethiopian beauty liya kebede. her career was jump started when tom ford discovered her and had her flown to milan to walk exclusively for gucci's autumn/winter 2000 show. he then cast her the following year to star on the ad campaign for his second ysl collection and soon got anna wintour's stamp of approval who made her a monthly fixture at american vogue. it wasn't just american vogue who fell for kebede's charm. in may 2002 paris vogue's editor carinne roitfeld put her on the cover and dedicated the entire issue to her. the following year she became the first black woman to represent estee lauder cosmetics.<br />since then she has broadened her horizons and became a good will ambassador for the world health organization, bringing attention to the plights of her fellow africans. it is this humanity that shines through and has made her one of the most beloved models in recent history and to highlight her humanitarian work she graced the cover of american vogue in 2006.<br />everything in fashion always comes full circle. and just as 2000s opened with the brazilian, it would be a brazilian to close it. but unlike giselle, raquel zimmerman doesn't exude heated sensuality or latin heat. instead there is a purity in her face. a classicism that has universal appeal in a form that has the ability to be molded into whatever a client needs and a personality that afflicts everyone around her. <br />while she is the most successful model right now, her journey to the top has been a long one. she first started making the international rounds in 2000 but it wasn't until she opened prada autumn/winter 2004 collection that her career truly sky rocketed. now a perennial fixture on all the top shows and a superstar in her native brazil, zimmermann has become the girl that everyone wished would be most likely to succeed. <br />with the idea of beauty being constantly challenge to adapt to the times, modeling has become a fast paced business that is always trying to catch the definitive. however it really isn't about being the perfect face for now that makes a good model. yes it is an important foot in the door, but its their ability to adapt to the needs after that initial demand has passed that tests their abilities as a model and gives their career longevity. it is their personalities however that makes them a star.<br /><br /><center><img src="http://i747.photobucket.com/albums/xx112/royboticsteez/models-M2000s.jpg"></center><br />unlike their female counterparts, male models have never really enjoyed the attention or salary that female models have commanded for many years. there are obviously exceptions to the rule such as marcus schenkenberg, mark van derloo or tyson beckford who enjoyed substantial success in the nineties. although they were never able to match the earnings of the girls, their chiseled good looks and defined bodies made them household names and help contribute to the growing popularity of male models. <br />as the new millennium approached, a new crop of boys emerged who's aesthetic was far removed from the beefcake image of beckford and schenkenberg. and with the growing influence of hedi slimane's new definition of the modern man he first exhibited with his collections for yves saint laurent, and then at dior homme a new sensibility was to take shape that would continue to assert it's influence throughout the decade. <br />models such as scott barnhill, greg payne and charlie speed, boys with a more noticeably youthful appearance and smaller frame perfectly captured the essence that was beginning to rewrite a new definition of masculine beauty. although this new wave of models were beginning to redefine the aesthetic, the picture of an underwear clad jeff aquilon under the miami sun shot by bruce webber in the eighties for the calvin klein underwear campaign was too potent an image of male sexuality that would forever influence the definition of male perfection. it was because of this that enabled more "traditional" models such as robert petrovich, will lemay and gabriel aubrey to continue to represent the long lasting ideal in the first years of the new millennium.<br />as the decade progressed and with slimane's vision becoming more and more influential, the demand for the new aesthetic began to dominate the prominent catwalks and advertising campaigns. matthew avedon, the first bonafide star of the two thousands and grandson of legendary photographer richard avadon along with fellow american tyson balou came to embody this new sensibility. their boyish good looks but with a hint of rugged masculinity made them the perfect avatar that represented the kinetic energy of youth, yet their classical features perfectly bridged the old school of thought and the new one that was beginning to form.<br />just as the females that became muses for some of fashion's most creative minds in the past, the noughties saw the boys beginning to inspire some of the most important designers of the decade. j.r. gallison became tom ford's male muse at gucci, just as damien van zyl and travis fimmel came to represent the calvin klein man. but no other model became as inspirational to a designer such as brad kroenig, who's career was launched to dizzying heights when he caught the attention of karl lagerfeld who shot kroenig prolifically and used him for every campaign for all the houses he designed for.<br />as the years went by the youth movement was in full momentum and with designers and casting agents looking for the face that could fully represent the trend it ushered in some of the most unforgettable faces of the decade. boyd hollbrook, shaun dewet, danny beauchamp, and jeremy dufour all embodied the youthful spirit and with a face that had all the charm of a young boy with a swagger that gave them universal appeal that transcended the age barrier. but it was danish model mathias lauridsen who emerged out of this new school to fully represent this new romantic and youthful aesthetic. his career was catapulted to the top when jil sander hand picked the young dane to star in the first advertising campaign for the house she had just returned to. and while many of his contemporaries eventually faded, lauridsen has been one of the few who was able to maintain his level of success and in the five years he's been at the top, he has managed to bag some of the most coveted campaigns in the industry. closing off the successful decade with the gucci pour homme fragrance campaign.<br />while teenagers were the norm in female models, it was virtually new in the noughties. suddenly the need to capture the essence of youth became a priority and it sidelined the archetypal image of aquilon and van der loo and the new male models became noticeable younger and younger. regardless of how prominent the youthful ideal was, when a model like andres segura with all his searing masculinity and with the noticeable sexuality he projects, few could resist the prototype of the perfect man he embodied. he became the face of louis vuitton, chanel's allure campaign and even one of the most powerful editors, vogue paris' carine roitfeld who profiled the model in her magazine was unable to resist segura's charm. when photographers inez van lamsweerde and vinoodh matadin shot him in all his naked glory for arena homme plus, his status as one of the industry's most iconic figures was forever cemented.<br />just as the nineties was able to make room for both the classic beauty of the supermodels and for the likes of kate moss and alek wek, the two thousands was able to duplicate the same revolution for the male modeling industry. today, models like david gandy with a face and physique that seems to have been carved from ancient greek marble and lanky framed and tatooed cole more walk the same runways. this decade wasn't about redefining the male archetype but expanding on it. and with this new sense of freedom to look anew at the old palimpsest, the next ten years promises to be a very interesting one.roybothttp://www.blogger.com/profile/08405023036068995881noreply@blogger.com3tag:blogger.com,1999:blog-6127377420150246029.post-60733795128520282282009-12-23T13:27:00.008-05:002009-12-23T17:48:22.049-05:00VIKTOR & ROLF - "RUSSIAN DOLL" HAUTE COUTURE AUTUMN/WINTER 1999<CENTER><object width="425" height="344"><param name="movie" value="http://www.youtube.com/v/jVAnE-n2oDI&hl=en_US&fs=1&"></param><param name="allowFullScreen" value="true"></param><param name="allowscriptaccess" value="always"></param><embed src="http://www.youtube.com/v/jVAnE-n2oDI&hl=en_US&fs=1&" type="application/x-shockwave-flash" allowscriptaccess="always" allowfullscreen="true" width="800" height="619"></embed></object><br /><object width="425" height="344"><param name="movie" value="http://www.youtube.com/v/gowYASHdaAU&hl=en_US&fs=1&"></param><param name="allowFullScreen" value="true"></param><param name="allowscriptaccess" value="always"></param><embed src="http://www.youtube.com/v/gowYASHdaAU&hl=en_US&fs=1&" type="application/x-shockwave-flash" allowscriptaccess="always" allowfullscreen="true" width="800" height="619"></embed></object></center><br /><br />the "russian doll" collection presented by the dutch duo's haute couture collection for autumn/winter 1999 is regarded by many as the defining moment when the designers gained the reputation for being two of the most innovative talents and established viktor and rolf as two of fashion's most provocative showmen. <br />inspired by matryoshka dolls, that beloved icon of russian culture, viktor and rolf took the idea and built a collection based on the theme of layering. casting model maggie rizer for her unobtrusive and pure doll-like beauty, the show opened with rizer standing on a rotating pedestal dressed in an unassuming burlap slip dress with frayed edges that resembled more like a potato sack than a couture dress. without the obvious grandeur that is usually attached to a couture show no one was to expect that magic that would eventually unfold. after each complete rotation of the pedestal, viktor and rolf would re-emerge from the darkness to add another layer on top of the dress. the new one more beautiful and more elaborately embroidered than the last. after the seventh and final layer was added, a massive coat with a sculpted rose made out of the same burlap that opened the show sprawling across the front, rizer was covered in approximately seventy kilograms of beautiful and ornate creations. <br />this collection struck such a chord because it displayed in essence the true nature of haute couture. the sublime beauty in the process of making hand made garments. how every hidden boning, every seam, each panel of cloth and everyone of the thousands of beads embroidered onto the fabric is just one part of the complete, resplendent picture.<br />in the many years i've been following fashion, there are only a handful of collections that i can only describe as incandescently perfect. this is most definitely one of them.<br /><br /><center><img src="http://i747.photobucket.com/albums/xx112/royboticsteez/viktorandrolf-russiandoll.jpg"></center>roybothttp://www.blogger.com/profile/08405023036068995881noreply@blogger.com0tag:blogger.com,1999:blog-6127377420150246029.post-60334385685947230182009-12-15T18:34:00.000-05:002009-12-15T18:53:19.222-05:00AUTUMN 2009<center><img src="http://i747.photobucket.com/albums/xx112/royboticsteez/f1.jpg"><br /><img src="http://i747.photobucket.com/albums/xx112/royboticsteez/f2.jpg"> <img src="http://i747.photobucket.com/albums/xx112/royboticsteez/f3.jpg"><br /><img src="http://i747.photobucket.com/albums/xx112/royboticsteez/f4.jpg"><br /><img src="http://i747.photobucket.com/albums/xx112/royboticsteez/f5.jpg"> <img src="http://i747.photobucket.com/albums/xx112/royboticsteez/f6.jpg"><br /><img src="http://i747.photobucket.com/albums/xx112/royboticsteez/f7.jpg"></center><br /><br />it might not be summer anymore and the air is a bit colder, but friends are always loads of fun.<br><br><br>roybothttp://www.blogger.com/profile/08405023036068995881noreply@blogger.com0tag:blogger.com,1999:blog-6127377420150246029.post-84356333495336325812009-12-08T18:29:00.001-05:002009-12-17T11:32:20.078-05:00KATIE EARY - SPRING/SUMMER 2010<center><img src="http://i747.photobucket.com/albums/xx112/royboticsteez/katie_eary-SS2010.jpg"></center><br />designers have always used fashion as a tool to sculpt and perfect our outer shell. there are few designers however who's fascination with what lies underneath our skin is as apparent as british designer katie eary. whose recent collection for spring/summer 2010 presented in london during the MAN show explored on the idea of "inner decay on the human body and its twisted beauty".<br />this translated into gauzy t-shirts printed with an anatomically correct diagram of the respiratory and digestive system caged by rib bones worn underneath metal works that covered the models' torsos resembling the human skeleton. macabre and slightly disturbing yes, but also extremely fascinating because of its originality. <br />as a woman who designs fashion for the other gender with a background that is heavily influenced by classic british tailoring and military uniform, eary brings to men's fashion what many of her male contemporaries fails to offer, a romantic fantasy that isn't suffocated by the rigorous rules attached to sartorial traditions that governs menswear.<br />underneath all the theatrics and shock value, there is above all a woman dedicated to her craft. much like a young galliano or mcqueen, the real testament to eary's talent is in her highly accomplished tailoring and her ability to easily adapt technique with her imagination. after only two collections, eary joins fellow MAN show presenters j.w. anderson and christopher shannon as the leading torchbearers of british men's fashion.<br /><br /><br /><br />photo: catwalking.comroybothttp://www.blogger.com/profile/08405023036068995881noreply@blogger.com1tag:blogger.com,1999:blog-6127377420150246029.post-43901531745934614752009-12-04T15:50:00.000-05:002009-12-04T17:19:40.002-05:00WILD AT HEART<center><img src="http://i747.photobucket.com/albums/xx112/royboticsteez/wildatheart-1.jpg"><br /><img src="http://i747.photobucket.com/albums/xx112/royboticsteez/wildatheart-2.jpg"><br /><img src="http://i747.photobucket.com/albums/xx112/royboticsteez/wildatheart-3.jpg"><br /><img src="http://i747.photobucket.com/albums/xx112/royboticsteez/wildatheart-4.jpg"><br /><img src="http://i747.photobucket.com/albums/xx112/royboticsteez/wildatheart-5.jpg"><br /><img src="http://i747.photobucket.com/albums/xx112/royboticsteez/wildatheart-6.jpg"><br /><img src="http://i747.photobucket.com/albums/xx112/royboticsteez/wildatheart-7.jpg"><br /><img src="http://i747.photobucket.com/albums/xx112/royboticsteez/wildatheart-8.jpg"><br /><img src="http://i747.photobucket.com/albums/xx112/royboticsteez/wildatheart-9.jpg"></center><br /><b>VOGUE - september 1991<br />photographer - peter lindbergh<br />creative director - grace coddington<br />models - cindy crawford, tatjana patitz, helena christensen, linda evangelista, claudia schiffer, naomi campbell, karen mulder, stephanie seymour</b><br />one of the most unforgetable editorials of the nineties featuring supermodel heavyweights shot by peter lindbergh and styled by living legend grace coddington, "wild at heart" featured one of the first important trends to emerge in the early nineties. a look the heavily borrowed from biker culture and jewelry that was at that time, mostly associated with rap music. <br />the trend first emerged on the chanel catwalk for autumn/winter 1991. where chanel's classic quilted leather and gilt chains was luxuriously amalgamated by karl lagerfeld with the biker uniform. the "biker" look would not only emerge on other catwalks, but found its way to one of the most iconic ad campaigns of the decade, the calvin klein jeans ad with carre otis and marcus schenkenberg.<br />after almost two decades, the influence of of the biker culture has permeated every aspect of fashion. from ricardo tisci to frida giannini, countless designers have presented their own take on the biker look. <br />what was once a sub-culture that developed its "uniform" to give itself a visual identity, fashion has turned the black leather biker jacket into a modern classic.roybothttp://www.blogger.com/profile/08405023036068995881noreply@blogger.com0tag:blogger.com,1999:blog-6127377420150246029.post-91933737169552946762009-11-30T23:14:00.000-05:002009-12-01T17:35:17.293-05:00GREATEST HITS: PRADA (PART TWO 2000-2009)<center><img src="http://i747.photobucket.com/albums/xx112/royboticsteez/prada-greatesthits-5.jpg"><br /><br /><img src="http://i747.photobucket.com/albums/xx112/royboticsteez/prada-greatesthits-6.jpg"><br /><br /><img src="http://i747.photobucket.com/albums/xx112/royboticsteez/prada-greatesthits-7.jpg"><br /><br /><img src="http://i747.photobucket.com/albums/xx112/royboticsteez/prada-greatesthits-8.jpg"></center><br />for the woman who was so instrumental in giving the nineties its minimalist identity, it is no surprise that it would be that same woman who would once again re-direct the course of fashion for the new millennium.<br />since her seminal "lady like" collection for spring 2000, prada continued to develop on the ideas of traditional notations of femininity by delving into the past to source inspirations and then finding the prada way to apply it for the times.<br />whether it be a sex bomb or post-war england's "make do and mend" philosophy, in the early half of the noughties, prada took the practicality of minimalism and slowly introduce new layers to the idea by introducing more and more decorative elements to her designs. a move that one would assume to be the complete antithesis for the woman who was responsible for stripping fashion down to its bare minimum only a decade before, prada somehow managed to utilize such decoration to heighten the potency of her message. a message that always crystalized the general feeling in the air and one that was never frivolous or superficial for the sake of fashion.<br />towards the latter of half of the decade the prada pendulum was about to take a dramatic shift, and for the fall of 2006 she went back to the utilitarian roots of the house and injected it with her own take on urban savagery that completely abolished any remnants of the "lady like" look she herself pioneered. <br />this marked the beginning of a more aggressive prada woman. complex, determined, and unapologetic. dressed in parkas, knits, nylon bombers and raincoats, the very clothes that were the backbone of the house in its early years, reinterpreted as armour for the modern woman.<br />this new confidence was followed with more sexually charged collections where her subversive take on female sexuality and the things that people closely relate to it made her work some of the most provocative collections of the decade. <br />towards the end of the two thousands and the arrival of the greatest economic crisis since the great depression, prada answered the gloomy global climate by sending out a collection of forties inspired suiting rich with texture in a sombre colour palette that signaled that these aren't times for which to play. it is a time for strength and these are the clothes that you will wear to battle.<br />for over twenty years miuccia prada's singular perspective has defined eras. from minimalism, to geek cheek, to lady like conservatism and a new form of power dressing, her talent is a testament to an uncompromising, unyielding vision. a vision that sparks movements and changes ideas and challenges institutions. <br />as the first decade of the new millennium draws to a close it would be useless to assume the direction prada is to head off to next. but when she finally reveals that destination, one can be sure that by next season everyone else is there. and by then she probably would've already moved on leaving the rest of the pack trying desperately to catch up.roybothttp://www.blogger.com/profile/08405023036068995881noreply@blogger.com1tag:blogger.com,1999:blog-6127377420150246029.post-64560136339752937092009-11-26T18:58:00.000-05:002009-11-27T11:10:03.007-05:00GREATEST HITS: PRADA (PART ONE 1990-2000)<center><img src="http://i747.photobucket.com/albums/xx112/royboticsteez/prada-greatesthits-1.jpg"><br /><br /><img src="http://i747.photobucket.com/albums/xx112/royboticsteez/prada-greatesthits-2.jpg"><br /><br /><img src="http://i747.photobucket.com/albums/xx112/royboticsteez/prada-greatesthits-3.jpg"><br /><br /><img src="http://i747.photobucket.com/albums/xx112/royboticsteez/prada-greatesthits-4.jpg"></center><br />throughout the nineties, prada has been one of the most influential force in fashion. spearheading the minimalist movement that would eventually define the decade. <br />since launching the house's ready to wear line in 1989 which at that time the world at large was still unfamiliar with miuccia prada's design sensibility, many criticized the collection as being out of step with the general mood of that moment. it wouldn't be until a few years later when prada's innate sensitivity to the needs of the modern woman and an uncanny ability to "predict" the direction fashion is meant to go that made the world finally took notice and realized that she isn't a designer who is out of step with the times, but one who is constantly ahead of it.<br />as the woman who is responsible for the nylon bag craze of the eighties, one of the hallmarks of the house is in its fabric innovation. utilizing materials not usually associated with luxury goods such as velcro, rubber or plastic and using it in a way that is so obviously practical one wonders why no one has thought of it before. by combining design and an understanding of modern needs and pragmatic solutions, prada steered the fashion world out of the excess of the eighties and into a new sense of modern dressing where women did not have to sacrifice function for beauty.<br />the irony however with prada's take on beauty is that she also constantly challenged our perception of it. first with her introduction of minimalism after the world was so used to idea of over the top glamour and supermodels, only to radically change it again just as the rest of the world was getting used to it with her "geek chic" collection of spring/summer 1996 where the seventies reference and odd colour palette threw the world a curve ball that surprisingly caused a ripple effect that can still be felt even now, thirteen years later after its debut. <br />for her first collection in the 2000s, prada managed to take control of the helm yet again and after a few years when everyone in fashion continued to experiment with the idea of good and bad taste, prada unleashed to an unsuspecting world a collection that played on all the traditional notions of femininity with all it's lady like qualities and toyed with the idea of prada's perverse and subversive take on sexuality. it obviously profoundly affected the rest of the fashion world in the beginning of the new millennium, but that is for part two. i'm hella hungry and i needs to eat.<br /><br /><br />p.s. new layout. i like big pictures so i changed my template but i fucking hate my banner and i pretty much suck at photoshop. if any of you want to make me one i will love you forever.roybothttp://www.blogger.com/profile/08405023036068995881noreply@blogger.com5tag:blogger.com,1999:blog-6127377420150246029.post-88735277933450994252009-11-15T19:40:00.000-05:002009-11-15T20:26:19.162-05:00michael lauwhen one thinks of avant garde fashion, he/she usually tends to associate that specific genre with london or paris, or antwerp. fashion capitals that historically have been the cradle that has nurtured the avant garde idea. paris has given us schiaparelli and gaultier. london, an exhausting list that includes alexander mcqueen and gareth pugh. and antwerp entered the global collective consciousness with the renegade sensibilities of the antwerp six. <br />while the documented emergence of the avant garde has been traditionally associated with europe and the art movement that found its epicenter in paris in the beginning of the twentieth century, over the next decades its profound influence stretched across the globe.<br />as the first decade of the twenty first century comes to a close and the arm of fashion has extended its influence, more and more international designers are embracing the avant garde idea.<br />in hong kong, a capitalist jewel capriciously set in communist china comes michael lau. a fashion designer and artist who presented his work during hong kong fashion week's spring/summer 2010 collections that, like all the great visionaries in fashion, blended concept, art, and clothes into a collection that challenges and provokes our notion of what fashion is and where the lines between fashion and art get blurred. <br /><br /><center><img src="http://i747.photobucket.com/albums/xx112/royboticsteez/michael_lau-1.jpg"><br /><img src="http://i747.photobucket.com/albums/xx112/royboticsteez/michael_lau-2.jpg"></center>roybothttp://www.blogger.com/profile/08405023036068995881noreply@blogger.com2tag:blogger.com,1999:blog-6127377420150246029.post-49608254895175407732009-11-13T21:45:00.001-05:002009-11-15T16:30:15.231-05:00matthewfirst off apologies for not updating recently. i've been hella busy working on a gajillion things and as a result i've come down with a right nasty case of the flu. last tuesday when i thought i was feeling a bit better i helped out a friend with her lookbook. it's a women's line and we shot it at one of those really sketchy motels along the lakshore. it was so sketchy we found a tiny garden snake inside the room, not to mention a cigarette butt behind the bed. we also had a boy model in it just to add a little something extra to the picture. i don't think i'm allowed to actually post any of the actual images just yet since its still in post production. however since the boy was graciously given to us by his agency we promised to devout some time specifically to him and take some shots so that he can use it to build his book since he's very new to the whole modeling thing. his name is matthew, and he's a pretty swell kid. he even picked up the little snake and held it in his hand. <br /><br /><center><img src="http://i747.photobucket.com/albums/xx112/royboticsteez/_MG_004.jpg"><br /><img src="http://i747.photobucket.com/albums/xx112/royboticsteez/matthew-2.jpg"><br /><img src="http://i747.photobucket.com/albums/xx112/royboticsteez/matthew-3.jpg"> <br /><img src="http://i747.photobucket.com/albums/xx112/royboticsteez/matthew-4.jpg"> <br /><img src="http://i747.photobucket.com/albums/xx112/royboticsteez/matthew-5.jpg"></center><br /><br />i'll try to post more often but to be honest i'm not finding anything exciting enough for me to talk about. is it just me or is fashion getting pretty fucking dull lately? anyways, i'm about to down some neo-citrin and hopefully pass the fuck out and wake up finally feeling like a human being again. adios.roybothttp://www.blogger.com/profile/08405023036068995881noreply@blogger.com4tag:blogger.com,1999:blog-6127377420150246029.post-1454880700610596672009-10-27T13:58:00.000-04:002009-10-27T14:02:26.710-04:00the drums - let's go surfing<center><object width="853" height="505"><param name="movie" value="http://www.youtube.com/v/6OsTUnkqSi4&hl=en&fs=1&rel=0&hd=1"></param><param name="allowFullScreen" value="true"></param><param name="allowscriptaccess" value="always"></param><embed src="http://www.youtube.com/v/6OsTUnkqSi4&hl=en&fs=1&rel=0&hd=1" type="application/x-shockwave-flash" allowscriptaccess="always" allowfullscreen="true" width="750" height="505"></embed></object></center><br /><br />my homeslice, <a href="http://www.modernfuss.com">burnsy</a> got me into this band and now this song has been pretty much on repeat on my itunes. why didn't i have this song during the summer???? it would've been fucking perfect!roybothttp://www.blogger.com/profile/08405023036068995881noreply@blogger.com0tag:blogger.com,1999:blog-6127377420150246029.post-56721717393599941522009-10-23T17:47:00.000-04:002009-10-27T17:17:30.856-04:00hometown heroesit's fashion week in toronto right now and even though the collections are for next spring, the weather outside is being a total antagonist. outside is what you would imagine to be a really dreadful fall day. it's wet, freezing, windy. one of those days that you can easily spend the whole day tucked underneath your blanket and thanking god for ninjavideo.net so that you can catch up on all the episodes of glee that you've missed.<br />don't get me wrong, it could be bright and sunny outside and i would still be under the covers instead of being at the tents and watching the collections. because to be quite honest, toronto fashion week sucks. <br />while i do feel rather guilty for hating on an event that gives canadian designers a platform to present their ideas my reasons are quite sound and rational. <br />designers who should be given the chance to show what this city has to offer because of their unique point of view are never given the opportunity to. talents that if properly fostered and supported by the governing bodies of the fashion council can give this city a reputation that can cultivate independent thinking designers whose ideas can stand on its own right beside more established, world recognized ones. <br />look what its done for london and antwerp, even copenhagen. these three cities have produced some of the most exciting young designers in the industry and they owe a lot of that success from their respective cities who supports local talent from a grass root level. those cities nurtures the creativity and point of view of its talents and at the same time helps them develop their labels as a business where they can eventually support themselves.<br />sure toronto has the fashion incubator, but what do they do after they leave that nest? toronto fashion week shouldn't be an event people mark on their social calendar. for a lot of designers in this city, they do what they do because they love it, and they will continue to do it without the support of the FDCC. there's a lot of blood, sweat and tears that aren't given the opportunity to shine and canada is missing out on it. <br />but to end on a good note. there were two designers who presented their collection during fashion week. of course its no surprise that they weren't part of the offical fashion week calendar and also no surprise that it ended up being the two best collections, i would even say the only two good collections throughout the entire week. well the shows don't end till tomorrow but i'm pretty sure its safe to say that we won't be seeing anything better or on par with these two.<br /><br />presented in the historic burroughs building on queen west for the second season in a row, <a href="http://philipsparks.com">philip sparks</a> presented a collection that is brimming with canadian identity with an international appeal. inspired by the canadian pacific railway ads from the fifties and cottage life (can't get more canadian that that), sparks' ability to narrate a story and pull all the elements together into a cohesive collection is remarkable. it displays such a high level of taste that he can make a postcard inspired print and the humble anorak effortlessly luxurious. and as always the story that he reads aloud through his clothes transports you to that familiar place that only us canadians know. he's like the canadian version of ralph lauren. only so much cooler.<br /><center><img src="http://i747.photobucket.com/albums/xx112/royboticsteez/philip_sparks_ss2010-1.jpg"><br /><img src="http://i747.photobucket.com/albums/xx112/royboticsteez/philip_sparks_ss2010-2.jpg"><br /><img src="http://i747.photobucket.com/albums/xx112/royboticsteez/philip_sparks_ss2010-3.jpg"></center><br /><br /><a href="http://ritaliefhebber.com">rita liefhebber</a>, a former model, former fashion editor, former stylist, turned fashion designer was the most charming surprise of the week. presented at the quaint and lovely and extremely delicious charcuterie <i>the black hoof</i> on dundas west, the guest who were forced to wait outside the restaurant for over half an hour after schedule quickly forgot their dissatisfaction when they were greeted with drinks and food courtesy of the house. as fantastic as the food and vodka was, the real treat was having to walk down the restaurants insanely narrow walkway to the brightly lit back patio covered entirely in white where a row of models stood on the bench that surrounded the space with another row of girls standing on ground level in front of them. to walk through such narrow, and dark passageway and end up in this brightly lit up room with all these pretty young things, wearing some of the most beautiful clothes my eyes have ever seen in person was like seeing the light at the end of the tunnel. minus the dying part of course. after working in so may different aspects of the industry, liefhebber has such a developed aesthetic that she can put them all together into a collection where every piece flows so seamlessly to the next. she has such an understanding and sensitivity to what appeals to a woman with a true sense of fashion. kinda like phoebe philo. high praises of course but extremely well deserved. the clothes were effortless without sacrificing any of its beauty and charm. it was pure heaven.<br /><br /><center><img src="http://i747.photobucket.com/albums/xx112/royboticsteez/SYc_rita_liefhebber_1.jpg"><br /><img src="http://i747.photobucket.com/albums/xx112/royboticsteez/SYc_rita_liefhebber_6.jpg"><br /><img src="http://i747.photobucket.com/albums/xx112/royboticsteez/SYc_rita_liefhebber_9.jpg"><br /><img src="http://i747.photobucket.com/albums/xx112/royboticsteez/SYc_rita_liefhebber_11.jpg"></center> <br /><br /><br /><br /><br />photos: philip sparks - fashionmagazine.com, rita liefhebber - textstyles.caroybothttp://www.blogger.com/profile/08405023036068995881noreply@blogger.com1tag:blogger.com,1999:blog-6127377420150246029.post-89125459200888548752009-10-16T20:21:00.000-04:002009-10-16T20:39:02.320-04:00gehard demetz<center><img src="http://i747.photobucket.com/albums/xx112/royboticsteez/dont_cry_in_public.jpg"><br /><img src="http://i747.photobucket.com/albums/xx112/royboticsteez/mum_only_said_wash_your_hands.jpg"><br /><img src="http://i747.photobucket.com/albums/xx112/royboticsteez/you_have_stolen_my_silence.jpg"><br /><img src="http://i747.photobucket.com/albums/xx112/royboticsteez/hitler_and_mao.jpg"><br /><img src="http://i747.photobucket.com/albums/xx112/royboticsteez/my_headphones_saved_my_life.jpg"><br /><img src="http://i747.photobucket.com/albums/xx112/royboticsteez/i_hear_the_spirit_when_i_whisper.jpg"><br /><img src="http://i747.photobucket.com/albums/xx112/royboticsteez/the_mouth_full_of_stars.jpg"></center><br /><br />what i find fascinating about art is it's ability to constantly adapt to modernity. every medium has the capacity, in the hands of a highly imaginative artist, to once again be relevant, poignant, soulful, and moving. gehard demetz's beautifully realized wooden sculptures of children has the ability, like all great works of art to provoke intense reactions. it is all at once confrontational, emphatic, which comes with a longing to understand what the inanimate children wishes to convey. <br />not much is known about the artist, asides from his nationality and his date of birth every other fact about him is a mystery. perhaps, like the great author and recluse j.d. salinger, he doesn't feel the need to explain his work. every answer anyone wishes to know is carved into the grooves of a dead tree brought back to life in the shape of a child. a child, like what we once were, who can manage to live in a world where dreams and rationality can be one and the same.roybothttp://www.blogger.com/profile/08405023036068995881noreply@blogger.com9tag:blogger.com,1999:blog-6127377420150246029.post-30702094855454367242009-10-13T20:25:00.000-04:002009-10-16T13:57:01.471-04:00spring/summer 2010<center><img src="http://i747.photobucket.com/albums/xx112/royboticsteez/TOPTEN.jpg"><br /><img src="http://i747.photobucket.com/albums/xx112/royboticsteez/TOP2010-10_9.jpg"><br /><img src="http://i747.photobucket.com/albums/xx112/royboticsteez/TOP2010-8_7-1.jpg"><br /><img src="http://i747.photobucket.com/albums/xx112/royboticsteez/TOP2010-6_5.jpg"><br /><img src="http://i747.photobucket.com/albums/xx112/royboticsteez/TOP2010-4_3.jpg"><br /><img src="http://i747.photobucket.com/albums/xx112/royboticsteez/TOP2010-2_1.jpg"></center><br />over the past few years, fashion has become one of the greatest ways we pantomime the collective mood that hovers in the air. it is one of the few things that, unlike everything else in the world, have become more and more democratic. with the advent of mass market retail stores with their wallet approachable, fashion conscious merchandise and the surge of popularity and influence of bloggers (as witnessed during the dolce and gabbana show where a front row seat was reserved for popular internet celebrity tommy ton of jakandjil fame), more and more people have become exposed to fashion and the culture it cultivates. as a result, the fashion landscape has become more competitive and ideas are churned out in almost supersonic speed so as not to be left behind by a growing number of competitors. while the surge of ideas that is produced in this arena is remarkable, the rate of which it comes out becomes somewhat damaging. it doesn't give those ideas enough time to evolve organically. <br />the lifeline of trends have become so narrow that in three months time when the pre-fall collections are debuted, the ideas that stemmed from this show season would've already been forgotten, even discarded. for fashion to not collapse under its own weight a sense of restraint has to be put into practice. that form of restraint manifested itself through designers who stripped off their collection with unnecessary artifices and focused on the things that really captures the essence of their respective houses. <br />nowhere was this more evident than at dolce and gabbana. after almost thirty years in the business, dominico dolce and stefano gabbana returned to the core essence of the brand and by doing so presented one of the strongest collections of the season. after several seasons which saw the design duo toying with ideas such as surrealism, madonna, seventies london and contemporary art, they went back to sicily. the island where the designers drew their early inspirations from and helped cement their status as the go to label for provocative, subversive, sensual designs. i mean, let's face it, anna magnani is a far sexier and more potent muse than jesus luz's sugar momma.<br />other well established houses such as givenchy and balenciaga continued to redefine its storied legacy by injecting it with a youthfulness and modernity that continues to dictate the direction where fashion is heading. and fashion's most infamous enfant terrible/showman, lee mcqueen, managed to crash a whole website from the amount of people wishing to see his show aired lived on what else, the internet. which unfortunately robbed millions the chance to witness one of the most poignant show of the season.<br />younger labels such meadham kirchhoff, louise goldin, sharon wauchob and ohne titel, houses that are just establishing their identity therefore have more space to experiment with their vocabulary, they nevertheless have managed to gain enough confidence in their young age to assert their own personality in this highly competitive arena. <br />and as usual, fashion's greatest intellectuals, miuccia prada and rei kawakubo never ceases to give us a cerebral challenge as to what fashion is, what it can be, and what it should be. by always challenging our perception of fashion, these two women never fails to become a huge voice in the discussion. <br />although there were some strong collections presented during spring/summer 2010 collections, generally speaking, the word to summarize everything as a whole was "adequate". there were plenty of sellable clothes that designers sent out because it was a sure way to have customers who are still frugal because of the economy to open their wallets. but perhaps that is where the problem lies. designers were so focused on putting out the best of what they know how to do that it left little in terms of experimentation and development. a new course that could've taken root, detoured in favor of guaranteed commercial success. in these still uncertain times, one cannot fault the designers for playing it safe, albeit it to their respected strengths. last season when the wound left by the crash was still fresh, there were talks of how in times like these, a creative surge erupts, unfortunately it seems that that seed has yet to sprout.roybothttp://www.blogger.com/profile/08405023036068995881noreply@blogger.com0