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Dear readers,
pleats, soft as a toadstool’s gills, on the first skirt. Metallic threads, loosely woven and so fine they threaten to break any moment, on the second.

The Perret Schaad collection combines nature and technology in a celebration of textile design at its most sophisticated. Their cuts are minimalist but utterly impeccable, sculptural with linen-mohair mixes, flowing like veils in crepes and silk.

Their colors are understated in grays, blues and browns, with a glint of turquoise or a shimmer of green. Variation comes first and foremost in the neckline, foregoing collars and framing the cleavage in ever new ways.

Perret Schaad say their designs « capture the hazy, shimmering mood of a summer day ». And I’d have to agree. But you wouldn’t want to wear their delicate silk dresses or those hip-length blazers only on hot days. They are so exquisite, refreshing and self-assured, you’ll want to wear them all year round, and next year, too.

Text by Mareike Nieberding
Photos by Jessica Barthel

This post is a collaboration with Derzeit

 

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Keen observers of Michael Sonntag, of which I myself am included, have long since realized his work is something of a continuous progression and not open to the fads and whimsy that other designers often follow.

And why should it? You can see there is a clear vision, from someone with the skill to follow it through. He has such a talent for creating silhouettes that appear breathtakingly sculptural and yet perfectly wearable all at once.

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This collection had a slightly more graphic direction than the ones that have preceded it, black and white combined to striking effect. Shades of red, blue and yellow appeared in patches but were used as highlights rather than a focus. I didn’t even mind that the models walked so slowly, it allowed more time to take in the clothes that had a real three-dimensional quality and were interesting from whichever angle you looked at them.

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Generously cut jackets hung off the shoulder, the stiff fabrics creating soft waves across the back. Trousers billowed from the thigh. A number of ankle length silk dresses draped from the neck and weaved into improbable patterns over the models’ bodies.

As always, the whole thing left me excited to see where he goes next.

Text by James Castle for Derzeit
Photos by Jessica Barthel

 

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Falling prey to a greater trend of temporal aimlessness, Dietrich Emter’s Spring/Summer 2013 collection mixed influences spanning the entire history of modern fashion without any particular emphasis on a style or trend.

Emter has stuck with his ready-to-wear principles -simple cuts and lines augmented by the strategic use of pleats. Coats, pants, blouses and dresses fall somewhere between futuristic, classic modern and 70s polyester, with no cohesive narrative other than the colors.

Plain white dominated, followed by royal blue and metallic orange, emerging in a slow gradation, first in a colored tree branch pattern, then in nearly monochromatic pieces. In a few short moves, the collection jumped from a simple white minidress with a patterned, pleated corner in the skirt, to a shimmering, retro-future type dress with sharp shoulders and a double-wide clasped belt at the waist.

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The pieces de resistance, though, were a series of maxi and mini dresses reminiscent of mother-and-me nightgown sets from an old Quelle catalogue -and just in case you forget who designed it, Emter has helpfully stamped his tree branch mosaic with his initials.

Text by Tara Dominguez for Derzeit
Photos by Jessica Barthel

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