morsure:

alek wek at issey miyake spring summer 1999

morsure:

alek wek at issey miyake spring summer 1999


Dries Van Noten Spring-Summer 1998
embroidered kaftan
for this collection, we steered away from opulent ethnicity with a simpler collection that was more monochromatic in colourway, focusing on shades of white, blue, black and dark brown. although many of the shapes were inspired by silhouettes taken from Japanese, Chinese, African and even Belgian dress styles, the overall impression was less obviously exotic than earlier collections. What was interesting, however, was that because we had an African band to provide the music, everyone assumed the collection was based on that continent. I felt that it proved you can look at another group of cultures without screaming your points of reference. If we had chosen another kind of music, the whole interpretation might have been different. Perhaps, ethnicity is in the eye of the beholder, as much as in what i design. —DVN 
photo Patrick Robijn 
Dries Van Noten: Shape, Print, and Fabric (Cutting Edge) | Andrew Tucker | 1999

Dries Van Noten Spring-Summer 1998

embroidered kaftan

for this collection, we steered away from opulent ethnicity with a simpler collection that was more monochromatic in colourway, focusing on shades of white, blue, black and dark brown. although many of the shapes were inspired by silhouettes taken from Japanese, Chinese, African and even Belgian dress styles, the overall impression was less obviously exotic than earlier collections. What was interesting, however, was that because we had an African band to provide the music, everyone assumed the collection was based on that continent. I felt that it proved you can look at another group of cultures without screaming your points of reference. If we had chosen another kind of music, the whole interpretation might have been different. Perhaps, ethnicity is in the eye of the beholder, as much as in what i design. —DVN 

photo Patrick Robijn 

Dries Van Noten: Shape, Print, and Fabric (Cutting Edge) | Andrew Tucker | 1999

(Source: zoku)

Eclect Dissect, Givenchy F/W 1997 Haute Couture by Alexander McQueen

For this show, McQueen’s art director Simon Costin imagined a fictional surgeon who traveled the world collecting exotic objects and women, whom he took apart and reassembled in his laboratory. The runway staged the return of these murdered women who came back to haunt the living. The models embodied their ghosts, dressed in unique garments of Scottish tartan, Spanish lace, kimonos, and Eastern folk dresses decorated with feathers and animals. McQueen acted like a surgeon with the collection, dissecting traditional clothing and reconstructing their forms to create a morbid aura.

black-model-famous:

Alek Wek, Givenchy by Alexander McQueen Spring/Summer 1997 Haute Couture

black-model-famous:

Alek Wek, Givenchy by Alexander McQueen Spring/Summer 1997 Haute Couture


Alek Wek backstage @ Christian Dior F/W 1999 Haute Couture

Alek Wek backstage @ Christian Dior F/W 1999 Haute Couture

Alek Wek @ Givenchy F/W 1998 Haute Couture by Alexander McQueen

Alek Wek @ Givenchy F/W 1998 Haute Couture by Alexander McQueen

Alek Wek, Erin O’Connor, & Shalom Harlow @ John Galliano S/S 1999

cotonblanc:

alek wekhaute couture fall–winter 1999–2000, chanel
postcards from the edge of the catwalk photography iain r webb

cotonblanc:

alek wek
haute couture fall–winter 1999–2000, chanel

postcards from the edge of the catwalk
photography iain r webb

Alek Wek, Givenchy by Alexander McQueen F/W 1998 Haute Couture

Alek Wek, Givenchy by Alexander McQueen F/W 1998 Haute Couture

Alek Wek, Givenchy by Alexander McQueen F/W 1998 Haute Couture

Alek Wek, Givenchy by Alexander McQueen F/W 1998 Haute Couture

Alek Wek, Vivienne Westwood Red Label F/W 1999

Alek Wek, Vivienne Westwood Red Label F/W 1999