Paris Fashion Week SS 2012: Yiqing Yin article, Gareth Pugh outtakes
Yiqing Yin: She mentioned just “experimenting with draping”, and techniques of unravelling by hand for the layered stretch black fabrics. Her favourite piece is the Swarovski-encrusted window-display piece. The red dress from the couture show a few months ago was not included in the presentation—it was apparently being photographed.
YStyle Exclusive: Rising star Yiqing Yin designs couture at 25 (The Philippine Star) Updated November 11, 2011 12:00 AM Comments (0)
PARIS — It was unprecedented: the ANDAM fashionawards, a prestigious fashion body in France, awarded a designer with the Young Designers’ Collection prize. Yiqing Yin was the lucky recipient. As fall/winter 2011 couture week began, she had begun to make a dress for Cartier’s global video campaign ad. During the spring/summer 2012 shows, a private showroom with Galeries Lafayette, where a window display showcased a gown, welcomed editors and buyers from around the globe. She is slated to show a prêt-à-porter collection in next season’s shows. The designer studied at the Ecole Nationale des Arts Décoratifs, and won the Grand Price of Creation awarded by the City of Paris. Her collections have been displayed in the windows of the Ministère de la Culture, the Théâtre National de Chaillot and the Joyce Gallery. Philippine STAR sat down with Yin for an exclusive interview. YSTYLE: Tell us a bit about the ANDAM Awards. YIQING YAN: That was stressful and it was a very impressive experience to present my work in front of all those people… In addition, one of the dresses I had to present literally went up in flames 10 minutes before the presentation. In the end, I felt very honored just to be there and even more so that they granted me a prize. It was really encouraging for me and gives some confidence in working hard. I hope not to disappoint anyone. Can you tell us a little bit about your first couture collection? The collection is named “Ouvrir Vénus,” and is composed of 22 looks, mainly dresses. I wanted to explore an ideal of female beauty that had been flayed open, peeling the different layers of the female anatomy in order to reveal a sensuousness that is very intimate and fragile. It is a close anatomical study through the lines, volumes and graphics that compose the silhouettes. Having benefited from many sponsors including Swarovski and Saga furs, I used all sorts of materials from silk, furs and crystals in order to reconstruct a second skin for a new body, keeping a very sculptural and instinctive approach to garment construction and embroidery. This first collection was about exploring new definitions of sensuousness and eroticism, the space between armor and nudity, and imagining a new creature, half animal, half mineral. So are you planning to do couture in the meantime, or are you going to do prêt-à-porter too? I will keep presenting during couture for the time being. I don’t think fashion should just be a product, but also a shared emotion, a story, and should be a space of creative freedom. Beauty is a purpose in its own. I believe in the values of couture, the intimacy, the excellence and the respect for the people who make the clothes and for those who wear them. I think it’s up to the new generation to be aware of its legacy, to disturb and give it a new light… I view couture as a creative laboratory to propose new definitions of beauty in accordance with our era. I want to construct a clear image and identity before diluting my ideas for a commercial purpose. So PAP will be the next step, but I want to take the time and find the means to develop a product that is coherent in quality and style to the original story of the brand. Any projects or installations in the works? I am currently working on an exclusive couture order from Cartier for their next global campaign film. Exciting projects coming up in Asia as well. You had a fragrance in your couture show; can you tell us a little bit about that? Yes, I had a wonderful collaboration with IFF who was a kind sponsor of the show and renowned perfumer Dominique Ropion who was kind enough to develop a special perfume for the brand. We worked side by side on the fragrance which was a very exciting experience, in interpreting the emotions and concept of the collection in terms of perfume.
Fragile creatures: Yiqing Yin wants to “explore an ideal of female beauty that had beent flayed open, peeling the different layers of the female anatomy in order to reveal a sensuousness that is very intimate and fragile.”What inspires you when you design?
The starting point for each design is always the encounter with the fabric. I make all the toiles myself, and optent thé prototypes, too. I have kept a very instinctive and sculptural approach to design and most garment creation starts directly upon the mannequin. I think part of the beauty and humanity in design is when you feel the “hand trail” on the garment. It is through molding the fabric directly onto the body that I have developed new pleating and draping techniques, and discovered surprising new shapes, volumes, graphics. I love working the details, while trying to stay attentive to the balance in proportions. I like to preserve the freedom in not knowing what the result will be, as it is by welcoming fortunate accidents that I come across the most unexpected discoveries. Who is your ideal Yiqing Yin woman? I design for women who are independent in their heart, and work on re-owning their identity. Women are instinctive and playful creatures. I want to give them an alternative that they deserve, and give them the confidence to embrace their singularity as their strength. My design is devoid of any social connotations. For me, complexity in a garment should have meaning and serve its construction, and never be just decorative. In the techniques I develop I always bare in mind the female anatomy which the garment is destined to serve. The body is the only protagonist in the design process and the garment is a shelter and a projection. By exploring the dynamic potentials of pleats and draping, I try to propose new definitions of beauty, grace and eroticism. I would like the woman who wears my clothes to assimilate it as a second skin, in which she becomes a new creature, shall it be a goddess or a predator. Who is your ideal customer? A woman who is sensuous, sensitive and independent in spirit, with no self-inflicted social or moral boundaries. Very creative in the way she dresses and designs her life. Any woman who values quality and the sense of uniqueness. How much of your work has a Chinese influence? Subconsciously perhaps, but the way I work is too instinctive to be able to associate any cultural or social influences with the aesthetic language. I am not so much influenced by my roots or any place I call home. On the contrary I believe the state of wandering and uncertainty is a good ground for creativity. Any words for other aspiring designers? When you are young and easily impressed, a lot of people will want to advise you or influence you in one way or another, and that can get very confusing. Listening is important but at the end of the day you have to trust your guts, and your instinct. I believe that common sense, devotion and stubbornness can sometimes make up for lack of experience. It is a world that is full of illusions and it is better to keep focused and never forget that the only real thing is to work hard and with honesty.
Yiging Yin’s soft and scrumptious
Gareth Pugh: Just behind: Follow the leader and framed looks
London Fashion Week SS 2012: Mary Katrantzou, Antonio Berardi, Peter Jensen outtakes
In the middle of the floor in the show space, there was a flower bed—the same flower beds were printed on Mary Katrantzou’s Spring Summer 2012 dresses. On a mini dress with peplum and train, a bow printed on as a belt, the colour green standing out brightly on the upper bodice, and light blue lipstick, the look was spring-fresh.
Mary Katrantzou: Floral prints like the flower bed in the middle of the floor, mini peplum dress, trains, metallic collage. And my fave, galaxyprarie prints.
The animal printed jacket and pants was the standout look: fun yet serious, and somehow understated even with the print running through the entire look in graphic rectangular shapes. The brand logo, the rabbit, on a belt and clothing, fit with the animal-print trend seen made by many brands this season.
London Fashion Week SS 2012: Acne, John Rocha, Jasper Conran, Craig Lawrence by Ria de Borja
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Cozy and colourful, the collection was fuss-free and friendly with loose pants made for pulling on and tops for throwing off. Proportions were flatteringly easy; shapes and colours even more so. There were a lot of blues and, a blouse in what seems to be the printed fabric trend of the season, and the most comfortable-looking black caftan. Another look was in leather: cropped motorcycle jackets and pants. Peplum shapes looked fresh.
Waking about the London Fashion Week NewGen Designers space, I came upon a group of white shirts hanging neatly in a row. All had interesting details: several pleats (in poplin; and in stretchier fabric held down at the ends to keep the accordion shape in place), gathers in the back to create a billowy effect and other slightly off-kilter additions that kept the shirts interesting. The designers were Levi Palmer and Matthew Harding, who had been, in Paris, nominated for the Andam Fashion Awards. The duo decided to make shirts that, summing up the designers’ words, were not just about flash but had more substance.
It was the democratization of fashion that, according to Dior CEO Sidney Toledano, brings in hundreds of young people. He mentioned its success every year, in Dior shops globally. Among several events of the evening was the launch of Artcurial’s Intérieurs 201, an exhibit of chosen decorators, by AD magazine and Artcurial.