The Art of Fashion: Henrik Vibskov's New Collection in Paris

A model circles a central installation of butchers and fabric salamis at Henrik Vibskov's Spring/Summer 2017 men's collection. Cover picture and all photographs by Elli Ioannou

One of the highlights of Paris Men's Fashion Week was the whimsical show of Danish artist and designer Henrik Vibskov. Set amid a surreal kitchen of fabric salami and white-coated butchers, the models wore a signature baroque and folkloric collection, making an interesting alternative to Scandinavian minimalism, reports our special correspondent Elli Ioannou

 

Henrik Vibskov with his "salami" installation

HENRIK Vibskov's menswear show in Paris was like an invitation into the designer's creative mind. As guests entered the dimly lit, Rococo ballroom with gilded chandeliers at the Westin Paris Vendôme, they were met with an otherworldly installation which engulfed most of the runway and a haunting yet playful electronic soundscape. Hung with giant salamis in red-dotted jacquard and lit with red, vertical neon tubes, the installation resembled a film set for Pedro Almodovar's Jamon Jamon. Henrik Vibskov shows are much anticipated as he uses fashion as a platform to explore the fusion of all of the creative disciplines he explores. The designer calls the show Salami Kitchen of the Non-exi-stent and describes it as a "dark and gloomy exploration" of modern society dealing with questions of morality and hedonism. Metaphors of meat are central to the show. As vegetarianism becomes more prevalent, Vibskov asks: "Could meat soon become a historic legend you will tell your grandkids about?" He says the inspiration for the Paris collection came from martial arts and Asian iconography and calligraphy.

Artisan Asian inspirataions

A graduate of London's prestigious Central Saint Martin's in 2001, the Danish designer is an artist that has had both solo and group exhibitions, an interior designer, creative director, mentor, educator and musician and a drummer with his own project Mountain Yorokobu with Fake Diamond Record. Touring with Trentemøller for six years, it comes as no surprise Vibskov's clothes are worn by musicians and artists including Björk, The Arctic Monkeys, Sigur Ros, Franz Ferdinand, Lou Reed, and Devendra Banhart. Vibskov has also worked as a film director and has won many awards including the Söderberg prize, the highest value design prize in the world, as well as the Jury Prize at the Danish Fashion Awards in 2012. This year,  the Queen Of Denmark and the academy council from the Royal Academy of Fine Arts awarded Henrik Vibstok the Thorvald Bindesbøll Medal.

Kabuki style make-up with black lips & pale faces 

The new Paris show opened with eight men dressed as Italian/Spanish butchers, carrying bundles of double-sided, sausage-red jacquard. While the models circled around the butcher's shop at the centre of the runway, the butchers prepared, arranged and made new batches of the jacquard sausage throughout the entire show. Following the current trend for mixing genders on the catwalk, Vibskov's show had male and female models with Kabuki-like pale faces and black lips.

Capacious jackets & spotted shirts 

The shoes, hats and colourful ensembles, resembled Asian rice field workers uniforms but with exaggerated large spots and polka dots. Others looked a lot more Japanese. Some of the highlights included a blue, red and white fringed sweater with a design referring to Japanese warrior motifs, with matching loose pants. Asian female models were dressed in kimono-style dresses printed with circular abstract graphics and the same fabric made up another look on a male model with an oversized shirt and matching loose pants.

Vibskov's colourful, long socks

The socks which Henrik Vibskov is renowned for had eye-catching designs and came in different patterns and were a key element in many of the SS17 looks. The mix of male and female models had an androgynous look and wore a mixture of heavily patterned pants, shorts and skirts with knee-high socks, most of which featured salami prints. Oversized coats and tailored jackets were also utilised throughout the collection.

Henrik Vibskov could be the creative love child of Vivienne Westwood and Malcolm McLaren. Indeed many of the looks pay homage to the 'buffalo girl' look. Vibskov is not merely a fashion designer, but more of a multi-disciplinary creative, one who fuses art, design, music subcultures with fashion seamlessly. These lines have been blurred by many, but few do it so successfully as this designer. Welcome to the dreamlike world of Henrik Vibsksov.

The designer described the collection as an exploration of morality and hedonism in the modern world.



The Paris show had a mix of male and female models wearing clothes with different patterns and textures with black Kabuki lips & Asian hats.

Spotted skirts and abstractly-patterned long socks

Knitted sweater with a graphic image of a meal of salamis 

Henrik Vibskov's shows are highly anticipated for their creative blend of a variety of artistic metiers

Martial arts and a Japanese aesthetic permeated the look of the collection 

The "butchers" at work amid the fabric salami installation

 Backstage at the Henrik Vibskov show in Paris

The Roocco gilt surrounds of Paris's Westin Paris -Vendôme provided a contrast to Vibskov's contermporary and surreal show

One Love: Paul Smith's Vivid New Menswear Collection in Paris

Vivid, tailored suits and gingham shirts at the Paul Smith Sping/Summer 2017 show in Paris. Cover picture, photographs and video by Elli Ioannou 

In Paris, the new menswear collection by Paul Smith for Spring/Summer 2017 was bright, summery and positive, inspired by the Soho clubs he frequented in the Sixties and Seventies with jazzy checks, vivid T-shirts, striped-collar polo tops mixed with elegant, tailored suits. The models sported halos of fine afro hair, and with jaunty smiles walked a rainbow runway at the French capital's spectacular stock exchange with it's soaring domed roof, Elli Ioannou reports

Rainbow catwalk & bright suits

OFTEN artists project a part of themselves into their work either consciously or unconsciously. British fashion icon Sir Paul Smith is no exception. From the vibrant rainbow colours of his Spring/Summer 2017 collection to the choice of models, he drew inspiration from his youth and the London 1960s zeitgeist. The collection encompassed themes of love, peace and harmony. Paul Smith always manages to create a fashion direction for his collections that are consistent, relevant and contemporary.The Paul Smith invitation to the menswear show in Paris was characteristic of the designer's aesthetic. Enclosed in a long, oversized envelope, the invitation included a rainbow-coloured pair of socks, which guests waved proudly as they entered the Paris Bourse where the runway show was held. Guests were also met with a table of rainbow-coloured cocktails in the foyer before entering the show. There was no fuss or pretentiousness, the atmosphere was light and happy. It was also a child friendly event ~ a rare sight ~ with some of the front row guests accompanied by children under the age of five.



The dome of the Paris Bourse, Palais Brongniart

The space itself is vast, under the Bourse de Commerce heritage- protected dome was a circular runway with a multi-coloured curving floor. Staff laid out the final touches, while guests amused themselves, cocktail in hand, chatting and posing for  media pictures. The pre-show vibe was very much an upmarket Notting Hill style festival and looked like one big happy party. A modern mix of Bob Marley’s One Love signaled the models’ entry on the runway circuit. Notably this style of catwalk also referred to the traditional couture approach where guests and models’ personal space was fused together by their proximity. Thus it made for a more intimate experience even within the colossal expansiveness of the Paris Bourse (which was sold to the Chamber of Commerce by the City of Paris for a token one euro in 1949). The models in the show were part of Paul Smith’s underlying social commentary about inclusivity and diversity, something he wanted to celebrate.


Halo of curls with a model, backstage  

There were mixed-race models of all nationalites, some had masses of curls and Afros that made them look like tall, contemporary angels with halos of hair catching the light. Walking towards each other, from opposite ends of the round catwalk, the models smiled and greeted each other as they passed in a choreographed display of cheerful recognition. Overall, the collection had sixties tailoring written all over it with a modern edge. Surprisingly, the suits and jackets did not feel retro at all but utterly contemporary which is one of Paul Smith's traits. Vivid suits in royal blue and vibrant yellow mixed with matching hues of gingham shirts. There were checked bomber style jackets and slim-line trousers. The bright suits were combined with blue gingham shirts, purple suits with green, yellow and red check shirts and matching oversized clutch bags.

Paul Smith amid his models after the show 

A model resembling a young Bob Dylan wore a shiny grey pair of overalls, while another model with a bright blonde Afro exuded an early Jimmy Hendrix vibe in a gingham suit jacket of acqua, yellow and red. There were also pieces in orange and green, almost all of the colours of the rainbow. The collection could have been garish but it was done with the designer's sophistication and signature style. As Paul Smith walked around with his models for the finale on the runway, there was definitely an ecstatic feeling permeating the enormous space. As the models descended the stairs along with the designer, they all stopped for a photoshoot for the surrounding guests and media that were crowded around and looking down from above. It had the feeling of a beloved and iconic musician being swarmed and adored by his fans. Yes, it truly was One Love.

Models leave the rainbow-coloured runway at Paul Smith's Paris show

Deep blue checked suit topped by a fine Afro and looked on by an audience including young children

The coloured, tailored suits and T-shirts with Peace or Love on the front  reflected the show's happy atmosphere

 The models smiled and greeted each other as they passed on the runway

Guests chatting in the front row before the show starts.The pre-show vibe was very much an upmarket Notting Hill style festival and looked like one big cheerful party.

Suits with large checks were combined with polo shirts with striped collars

Front row before the Paul Smith show begins at the Paris Bourse

 Brilliant colour made the suits inspired by club-goers from the Sixties completely contemporary

The style of catwalk also referred to the traditional couture approach where guests and models’ personal space was fused together by their proximity to each other

The space itself is vast, under the Paris Bourse's dome was a circular runway with a rainbow-hue floors

 A modern mix  of Bob Marley’s One Love signaled the models’ entry on to the runway circuit.

The Poetry of Space: Issey Miyake's New Collection in Paris SS17

Issey Miyake's fluid and relaxed collection inspired by the blank, white page at the beginning of the creative process. Cover picture and all photographs by Elli Ioannou 

Issey Miyake's new collection for SS17 in Paris was held in a vast open-air atrium at the city's Pierre and Marie Curie University with models criss-crossing the enormous space, wearing clothes that became increasingly more colourful, inspired by India's Holi festival. Story and photographs by special correspondent Elli Ioannou

The vast open-air atrium that housed the runway

IT was another hot and humid day of Parisian summer when Issey Miyake's new collection was shown in the monumental courtyard at the Pierre and Marie Curie University. The guests at the Japanese fashion house's shows are often the most colourful and individually dressed crowds during Paris Fashion Week and this season offered a visual feast for both street style photographers and the press. Aptly titled Journey from a White Page and inspired by India’s Holi Festival held in the spring and also known as the festival of colour because of the celebratory pigment throwing, Issey Miyake's new collection is about the process of beginning. The physical space of the fashion show provided the ultimate blank canvas for Issey Miyake's creative director, Yusuke Takahashi. The choice of place reflected the theme and story behind the new collection.

Tokyo psych folk band: Kikagaku Moyo 

The runway was created in the immense open atrium, designed by Periperique Architects, and partially encased in glass, the square concrete stairs spiralling upwards resembling an ancient Greek temple. As university staff above peered down from their office windows, it felt very much like a ritual or a ceremony was about to be performed. The exposed nature of the space meant it enabled university students and staff rare access to an exclusive fashion show, even during rehearsal. The show began with a live performance by Tokyo psych folk band Kikagaku Moyo dressed in all-white Issey Miyake ensembles with the five members all sporting Yoko Ono-esque 1970s, hippy style long hair. Their original music composed for the occasion is a blend of rock, acid folk and traditional Indian music.

 Model's criss-crossed the monumental courtyard

This was the first stroke of the brush by Yusuke Takahashi on the canvas, both visually and aurally. The group provided the backdrop for the duration of the show, as models appeared one by one from all four corners of the atrium. They came out from different directions, from each corner and angle, weaving and crossing each other and adding to the tapestry of Takahashi’s canvas. As the space between the models became narrower, the music became louder and faster, and they criss-crossed towards each other in a weaving pattern.  At the crescendo the models all stood still across the square, the final brush stroke on the canvas was complete. The enormous space of the atrium, towered over by the four surrounding high-rise university buildings, gave the viewers time to absorb the garments individually.

Contrasts of brilliant splashes of colour 

The palette of colours on flowing fabrics ranged from off-white to navy and from black to marbleised prints. Colourful splashes of paint, along with square leather tote bags created an easy, bohemian look. Inspired by the city of Varanasi in India, and its eclectic styles, Takahashi's range included rippling fabrics with soft textures. The clothes had a quiet elegance with their loose-fitting, relaxed feel while the organic fabrics had been subject to wrinkling and creasing techniques that enhanced their texture. Free and easy, the collection included white-pleated tunics, generously cut trousers, bib-front shirts, and dramatic diaphanous jackets. When the more colourful pieces appeared, they offered brilliant pattern and colour inspired by the Holi festival and all hand-printed. The range of brightly-coloured hues expressed the pigment being hurled about at the festival and the sheer joy of colour. As Takahashi said, the collection was supposed to look as if you were turning “page after page” and discovering something new on each one.

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Photographers and guests get ready to watch the Issey Miyake show 

Richly textured fabrics are created by techniques used to crate creases and wrinkles in the material

A model stands in the open air atrium in front of the show's Japanese folk band

 Graceful drapery in monochromatic black or white gave the collection a relaxed elegance 

 As the music builds to a crescendo, the models come to a standstill in the giant space

Models wove among each other crossing the atrium from all four corners

The Japanese band Kingaku Gonya wore Issey Miyake and provided the music for the show

Inside the Pierre and Marie Curie University, students and staff wait for the show to start in the courtyard

Badara Ndiaye was one of the stylish guests at the Issey Miyake show in Paris

Another guest at the show wore a 1950s style turban and New Look full skirt 

Paris Men's Fashion week: Y/Project's Innovative Eclectic Collection

Y/Project's runway on a boat on the Seine, with a model's wearing transparent tulle tops with pressed silk flowers. Photography & cover picture by Elli Ioannou

A touch of romance and a lot of Andy Warhol with a Belgian twist were the key ingredients at Y/Project’s Spring/Summer 2017 men's show at Paris Fashion Week, reports Elli Ioannou. Photographs by our Paris special correspondent Elli Ioannou

Female models & silk flowers

ON the first hot summer day in Paris, on the banks of the Seine river, Maxim's boat with its Art Nouveau décor (replica of the famous restaurant in the Rue Royale) lay floating on the water ready for the Y/Project show. After a lengthy 40 minute delay, typical of many shows during fashion week, in the humid compact space, reggae and jam music signalled the start of the show. Out came models wearing flesh-coloured, skin tight floral tops, deconstructed denim floppy sweaters, pastel pink and blue shiny parachute track pants that reflect 90s hip-hop references. The fitted, high-waisted denim pants with a signature diamond-shaped cut out were worn by sexy, gigolo-style male models who seemed to have stepped straight out of Andy Warhol’s Factory.

Contrasts of tough guy jackets & romantic pastels

Reminiscent of Warhol's screen tests of various male and female personalities, they included a young Lou Reed look-a-like, Basquiat and yes even two versions of Nico. There were over-sized cable sweaters handmade in Normandy and a use of contrasting materials such as moire on trackpants and tuxedos. Creative director Belgian Glenn Martens, has taken this Parisian label to new heights, including becoming a finalist in the prestigious LVMH Prize for Young Fashion Designers. While Martens first studied interior design, his first love is Gothic architecture, he decided on a whim to apply for the prestigious The Royal Academy of Fine Arts in Antwerp. He got in and discovered a real passion for fashion. After his graduation in 2008, he joined Jean Paul Gautier to work on his G2 line.

High-waisted jeans & big sweaters

The young designer worked as Yohan Serfaty’s first assistant at the designer’s eponymous brand in 2009 before going on to work with the renowned Belgian designer Bruno Pieters. He soon started a brand of his own, before he agreed to take the job at Y/Project. Serfaty had founded his label Y/Project in 2010 and Martens took over the label when the designer passed away in 2013. Part of Glenn Martens’ vision for the brand since becoming creative director three years ago, was to combine men's and women's pieces “to create collections that challenge classification”. The designs are also influenced by various subcultures and eras. The space, the models and the sound are all key ingredients in setting the scene for the theme of any range, and the Y/Project show had a suitably eclectic atmospheric and captured the collection's tough yet romantic aesthetic.

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Leather jackets and cable-knit sweaters hand-made in Normandy

Female models mixed with their male counterparts on the runway, a trend seen across all of the menswear catwalks this season

Black leather jacket over a tulle and silk flowered top reflecting the collections tough yet romantic aesthetic 

Pastel blue moire suit with long jackets and slim trousers

Glenn Martern's collection had both references to the 1970s and the 1990s

Another female model struts on the Y/Project runway during the men's shows in Paris Fashion Week

Sporty tight fitting violet trousers and fluid zip jacket

High-waisted blue jeans with signature diamond pattern and flowing white shirt