Ware to wow

Ware to wow

A MIX OF VETERAN AND ROOKIE DESIGNERS PUT ON A FASHION BANQUET TO DELIGHT STYLE ENTHUSIASTS

SOCIAL & LIFESTYLE

Elle Fashion Week 2012 kicked off late last week against the backdrop of a threat which was neither imaginary nor metaphorical. Looming over the white marquee set up in front of CentralWorld were ominously dark clouds pregnant with the prospect of torrential rain _ something that could very well eclipse the success of this, the longest-running and most prestigious fashion showcase in the Kingdom.

So much to be worried about, but, apart from a few mishaps that heavily delayed the schedule on Saturday, all was well. Attendance was unaffected _ the huge tent rarely less than full _ and, thank god, no rain descended to destroy the outfits of fashionistas who ventured out in droves in their Sunday best.

For those working behind the scenes it was four sweaty days of deadline madness. It was a pretty tall order for spectators, too, with 14 different shows and something like 20 designers to check out, scrutinise and savour. Some delivered the unexpected, while others stuck to the familiar, the tried and tested. Here's a complete wrap-up of the attire for autumn/winter 2012 unveiled at Elle Fashion Week and a taste of what we can expect to see on local racks and shelves over the next six months.

DAY 1: PLAYFUL WITH SIGNATURE TOUCHES

The first day saw Playhound by Greyhound opening the event with a sponsored 10th-anniversary show. Unlike the usual playful and rebellious flair we often get at a Playhound show, the brand seems to have taken a step closer to big sister Greyhound Original, sending out models with a calm demeanour that didn't seem to live up to the "So Playful So You" slogan dreamed up by sponsor Chevrolet. With the exception of the final series of metallic gold numbers, the collection is a series of Playhound classics _ sporty scooter mini-dresses, zipped-up jumpsuits in both short and calf lengths and a few A-line and pencil skirts, all in either solid colours with patchwork detail or in graphic stripes, artsy prints and handkerchief motif, accessorised with either caps or visors, aviator shades and calf-high socks.

VATIT ITTHI

There was a hint of the season's favourite influence, baroque, which manifested itself in tattoo-like prints, while the sporty American vibe remains apparent in baseball jerseys, baseball jackets for men and a sparkling red cape with white trimming.

The Playhound boys were decked out in an array of printed shirts and decent blousons, although it's doubtful whether any other man would look as good in those ankle-length trousers with such peculiar proportions; you'd need legs that extend up to your neck and an attitude like that of Playhound designer Jitsing Somboon.

27 Friday closed the opening day with a collection that contemplated asymmetry _ that long, floating tail of a mini-skirt and the print/solid, left and right sides of jackets and suits, thrown over quite an unsettling mix of "heritage" houndstooth element, oriental forms, metallic, peplum, sarongs and sequins _ all governed by a theme inspired by a journey to Myanmar. The ambience is of foreign travellers conversing with locals clad in sarongs printed in traditional patterns, suspiciously watched by military officers against the backdrop of Shwedagon Pagoda _ too much to witness but not too difficult to wear.

DAY 2: GRANDMASTER CLASSES

The second day was undoubtedly the strongest in terms of line-up. Show-closer Theatre always commands a loyal fan base and attracts a full house, as did Vatit Itthi, the design duo behind the wedding gowns of MR Srikumrung Yukol and other local society and showbiz luminaries, while Painkiller, the only exclusively menswear brand seen during the entire event, has long courted the love and admiration of fashion insiders.

HOOK’S

All three made negotiating Friday evening's traffic worth every minute. It was work from designers who know what they are doing, what they want and how to translate what they want into a collection that their customers will want (and the media will love).

Painkiller premiered its premium line, Painkiller Archetype, a made-to-order selection that could take men's streetwear to another level; you could describe it as a milestone in what men might call their fight for gender equality in fashion.

Glossy and shiny are the textures, while silhouettes are flattened to balance out the sheen. Built simply on cropped jackets, long jackets, printed cardigans and jumpers and trousers of a conservative length, Painkiller Archetype is more about details than silhouettes; the almost irritatingly slow pace of its runway show was presumably to ensure that nobody missed even the tiniest bit of meticulous care that was put into each and every outfit.

The clothes are dark and demure, fit for a man who's aloof and stoic, a thinker whose words are scarce, a man even to be admired, but not loved.

However, Painkiller managed to accomplish one of the hardest elements of putting on shows like this: striking a balance between the real (to-be-sold) items and showpieces like an all-over sequinned cardigan and pair of trousers, an outfit to be borrowed for a magazine shoot, perhaps, or custom-made for a very daring few.

Those printed jumpers and cardigans were all over the boys during the remaining two days of fashion week. And while it's not difficult to see pieces like a cropped herringbone jacket with matching trousers becoming someone's wardrobe staples, the show would have been more interesting if the brand had commissioned a stylist to contribute some editorial oversight.

The second show on Friday was crowd-magnet Vatit Itthi, the design duo who have stuck to the idea that it is style, not diamonds, that lasts forever. Like Painkiller, Vatit Itthi didn't experiment with new silhouettes, adhering instead to classic forms that can make girls look their best _ calf-length tulip skirts, halter tops, full A-line skirts and the maxi dress, all subtly cut to achieve a texture that moves fluidly as models walk along the runway.

OCAC

Based on a palette of black, white, gold, grey and one stunning fuchsia skirt, the clothes came together through skilled draping and meticulous attention to piecing together layers of fabrics to achieve a more modern and graphic look.

The much-awaited bridal collection, soundtracked live by singer Sukanya Miguel, was much more demure and conservative than the duo's previous work, but you couldn't say, after seeing those white gowns floating like clouds on the runway, that you weren't dreaming (or reminiscing) about your big day!

It is very hard for a collection to include a little bit of everything that epitomises glamour and still come off as strong and unified as Theatre looked on Friday night. The second collaboration between the brand and super-stylist Araya Indra marks another successful attempt to marry her vast treasure lode of influences with Theatre's skilled craftsmanship.

The result is a risky collection: all that brocade and lace, those feathers and peplum halters could come across as unflatteringly cheap without the masterly execution and uncompromising selection of materials that Theatre ensured.

Pencil skirts and cropped, fitted trousers are the key bottoms while the collection highlights tops and, strangely, the back _ sheer Edwardian-type blouses, cropped jackets decorated with beads, halters over lace, peplum halters, a sleeveless top decorated with feathers, the long tail of a jacket, and the pleated-skirt back on a pair of trousers.

The evening-wear session was resplendent in gold and brocade, whether one gazed at the Grecian dress worn with a cropped jacket or the sparkling, collarless brocade coat and the printed Empire maxi dress.

DAY 3: A MIXED BAG _ FUNFAIR AND FEAT OF ENDURANCE

The third day was the first to fall on a weekend and was enough to exhaust even the toughest front-row veteran, with five shows by 10 designers that continued from 3pm to well after midnight. Starting the line-up was the new incarnation of EFW's young designers runway christened Fashion Fresh Faces, shared by young talent Purinutt and celeb star-turned-designer Kwankao.

Purinutt's show was a collection of bejewelled bliss, with a series of black numbers _ pencil dresses, jacket suit with cropped trousers, V-neck full dresses and mini-dresses _ with gemstone prints. It was however the second part of the show when he incorporated sparkling stones, acrylic plates and glitters onto his pieces, some cut in diamond shapes and arranged in layers that reflect the light as models move. Purinutt sure is on his game when he's metamorphosing from design contest winner to brand founder, and this collection truly reflects his interesting transition period.

Sharing the stage with such a bright young thing in fashion is celeb-turned-designer Kwankao, who would probably need quite a few more years to be described by the single word ''designer'' and not the phrase ''celeb designer''.

Her take on the sexy minimal look Milin Yuvacharuskul has pioneered falls short of being different from the early Milin, with inferior cutting execution and materials handling. It's noteworthy that the Milin look is based on the shortest of all short skirts and slits and slices that give as many glimpses of flesh as the clothes, and mastery of cut and material manipulation are pivotal in order to make all daring wearers look sexy without being vulgar, sensual without being tarty, and it's not just about summoning the glorious concept of the birth of the universe from five elements or a supernova.

It takes attention to detail, and perhaps fashion education, to make these little geometric pieces of clothes held together by stitches sit beautifully on the skin _ and not solid connections in social and showbiz circles.

Following the Fashion Fresh Faces showcase were the winners of the Contemporary Fashion Contest by the Office of Contemporary Art and Culture _ the Contemporarist by OCAC.

SENADA

''Of Faith'' by Chatnupon Kuechan reworks traditional textile design into a cross between deco/tribal flapper, with acrylic plates in geometric forms adorning sleeveless mini-dresses in white and red. Wiruwan Hnuyung's collection comes in a palette of aqua green, grey and teal, and revolves around layering of textures, eyelets, and hardware details. Forms are conservative _ pencil and A-line at knee-length, and the focus is on the contrasting texture, although the collection could be more outstanding with a little more attention to the cut.

Wutthigrai Siriphon's collection ''Impressive Impressionism'' offers probably the loveliest palette of Earthly blue, cream, yellow and pink, although the ribbed-and-torn texture that recalls threads hung in a loom on those pencil dresses couldn't manage to keep the interest of viewers for the entire session. ''Presswear'' by Natnicha Opassuksatit reflects a fashion reference point of young Thai fashion students that finally wake up from the 1990s showmanship and stylisation of Alexander McQueen and John Galliano, although they still wake up finding themselves only few hundred kilometres away in Belgium, with Martin Margiela as key inspiration. However, it's a good direction to embark on, the wearability in those organza blouses layered over snakeprint, and the little mini-dress with structured organza jacket.

Last of the lot was Phinitnun Kanghae, who despite an unflattering series of prints at the beginning, managed to finally woo the crowd with a few interesting trouser suits and maxi-dresses in clean lines and tailored cutting, with a worthy-of-an-investment black tailored jacket to boot.

Hook's delivered a couture collection of ''oriental warriors go space age''. The designer's vision of uber-glamour is executed through his signature draping techniques and huge ruffles, while sporty elements like stripes are used to underline the strength of the female urban warrior. Shoulders are bold, actually there are armour-like shoulder pieces on some evening and cocktail dresses, while nets add not only sporty, but sensual vibes. The collection moves from white/ivory to deep red and finishes with black, mostly leather and flesh, giving it a fetishistic feel.

Ek Thongprasert looked back at 1950s American suburban housewives as the key reference point of his collection, staged against the backdrop of kitchen and the men in aprons playing percussion with the kitchenware. Built on a 1950s ladylike silhouette _ pencil and peplum skirts _ the collection has a modern edge in the graphic prints inspired by housewives' necessities: kitchen utensils and even irons. Most of the dresses feature asymmetric tied-back bows which simulates the housewives' apron _ something the design team appeared in while taking the bow. The overall collection is stunning conceptual wearability, but it felt a tad too long and unedited while it's not easy to keep the attention going all through the showcase with the percussion being the only audio backdrop.

Closing the long and enduring Saturday was Something Boudoir, the extension line of Disaya that targets younger coming-of-age well-off girls who have passed their tweens but not yet outgrown their teenage years. Something Boudoir gives the audience what it truly deserved after the long wait _ a dream of the teenage prom night in a powdery and candy palette. Like teenage years, it's sweet and sour _ but it's fun and memorable.

Sporty nautical stripes, checks, ginghams and little skirts with brass buttons recall your days by any sporting ground (depending on what sport your crush plays) while those cute prints, whether on jumpsuits, skirts or halter tops with ruffled trimming, recount those silly scribblings and the fantasy mask of the prom night. Surely for those who waited for this midnight showcase, they forgot the drowsiness and felt the fun and fresh new take of the Disaya/Boudoir family.

DAY 4: IT'S ALL ABOUT THE SHOWS

Those who think that the dream of the prom night at Something Boudoir made the final date of Elle Fashion Week something of an anti-climax would have to think again, because the first afternoon show of the second leg of Fashion Fresh Faces welcomed to the tent the largest bunch of high-voltage socialites, all to support the two brightest celebrity designers _ Kemissara and Vatanika.

It's well understood that all designers want to be addressed by just the word ''designer'' with no other prefixes aside of prodigal, talented, great or visionary, and it's difficult even more for Kemissara and Vatanika to shred their luminous social presence and be recognised as a designer on their own right _ something not impossible considering the Bangkok Post has always described Tipanan Krairiksh Srifuengfung and Chulalux Piyasombakul as designers with no ''celebrity'' prefix. But surely, it would take a little more time for these two who occupied the Fashion Fresh Faces slot on Sunday.

It's a relief at least to see Kemissara getting to a place she can call her own _ with a collection that seems to move slightly away from the sexy minimal trend in the market, although there are certain pieces that would fall into that category. Like designer Karatpetch Issara herself, the collection feels much warmer than those by her contemporary _ and if it's not clear on the models, it's clear when you see that deep V-neck metallic blue grey maxi-dress with organza sleeves on Pattree Bhakdibutr in front of the tent that Kemissara isn't about young debutantes. Those peplum sleeveless tops and wide-legged trousers are a perfect fit for everyday work for anyone from career starters to top executives, and this is probably the right direction Kemissara should vie for.

Actually, each piece by Kemissara is wearable and elegant _ it's definitely a great buy whether the beige cropped trousers or the midnight blue maxi-skirt with tan peplum and matching cropped top. It's just that when put together as a show, the collection lacks a unified point and pace that keeps it going from the beginning to an end.

Vatanika was the last of the young talents in the Fashion Fresh Faces slot, and that's when you start to doze off... thinking you're probably in Paris. And you saw Lanvin _ all those familiar glossy tied-back hairdos, that one-shoulder white top, belt and long maxi silk skirt and those detailed drapings and the sheet of fabric that floats between and behind the legs as models walk thanks to the slits. The only difference is there's no fan to blow the clothes as in Lanvin, and we didn't see Alber Elbaz anywhere here.

Enough of the Lanvin comparison, the real problem with Vatanika is that from the very first printed mini-skirt and the white, smocked and knotted top to the final bridal gown presented as separate solo (isn't this sequence supposed to have become extinct in 2005?), the collection has very little coherence. And you can't say it looks flattering either.

It feels more like wardrobe favourites _ something you see in celebrity collaboration _ and the lack of editing and coherence overshadows some decent pieces like the the asymmetric mini-dresses with one side in solid silk and the other in pleated fabrics. The second show of the day is Tu'i _ and it's the first handbag brand to showcase at Elle Fashion Week. Tipanan Krairiksh Srifuengfung's Tu'i and the Gypsies collection sees the designer executing her favourite exotic skins and flamboyant materials like crystals, fur, feathers and fringes on familiar geometric shapes.

The bags look great, and they look even better carried by models. The only problem is that the show is directed as a product demonstration rather than inspirational fashion showcase. Models strut the way with no less than three bags, and they would flash the front to the camera once arriving at the end of the runway _ a little too much hard-sale here _ and Tu'i's stellar clientele would surely love it. The sad thing is it's just the media sitting right across the catwalk.

The last two shows of fashion week _ Senada and Milin _ gave a lot of newbies a lesson in executing a fashion show and what a fashion show is supposed to be.

Senada's Birth of Venus collection is staged against the backdrop of a doll's house _ something quite unusual from this brand which up to now has preferred to keep runways simple. Senada continues to cruise through the waves of younger brands with its newfound direction _ and what only experienced designers could master _ print-blocking. The collection plays with proportion of prints, and blocks them with solid colours in short jumpsuits, mini-dresses, cropped sleeveless top and matching trousers in a palette of grey, blue and black.

The Birth of Venus-inspired print comes on a laid-back tunic jersey dress while the final series of black silk numbers teach the fashion newbies how to execute elegance and simplicity.

The closing show _ the one that took over half an hour to seat guests _ is Milin. Snatching the throne as the hottest fashion house du jour from any predecessor, Milin has blossomed into a strong fashion brand that commands a huge fan base and endorsement from superstars.

The collection _ sexier and bolder than ever _ was staged against the backdrop of a gigantic M logo that formed three pillars and three entrance gates for models to enter runway. The Milin girls rode on the luxury cars-inspired theme with abstract prints that suggest front grilles and probably other auto parts that girls don't actually know the names of. Splashes in a metallic palette of bronze, gold, silver _ all the favourite auto colours _ and held together by little pieces of metal hardware especially, the M logo that teases with car-brand logo, the collection was directed in hyper-fast pace (it's supercars-inspired, by the way) to keep the attention of the audience from the beginning to the end.

You couldn't say Milin's collection is the most sophisticated or ground-breaking, but the brand sure knows how to stay on top of the game. They love what they do, and they know how to make others love what they do.

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