This collection is inspired by 80’s rock-n-roll and royalty. Looks are chic, sassy and modern with a touch of romance. Classic and constructed silhouettes are composed in a mix of textures with the collage of gold and white trims to create extravagance.
Modern Glossy had the pleasure of interviewing the designer last year here. View the collection in the slideshow below.
Vassilios Kostetsos, Fall 2010. Photo by Stevyn Llewellyn
Modern Glossy’s Maria Giannakakis interviews Vassilios Kostetsos during fashion week in New York. Watch the exclusive video interview backstage and the runway show below.
Designer Vassilios Kostetsos frequently turns to his heritage for inspiration, as he did for Fall/Winter 2010. With his muse being the greek drama Antigone, Vassilios brought forth a sexually driven collection with strong undertones of love and war…read the entire review and see photos from the event here.
Models Renee Gee, Katherine Chan, and Rebecca Zhou in Olive Wu • Photos by Stevyn Llewellyn
Modern Glossy had the pleasure of Interviewing designer, Olive Wu after her presentation at NYU’s Expo 2010 fashion show.
Your palette for the fall 2010 season is primarily a romantic mixture of muted and shimmering dark colors, what type of fabrics did you use to achieve this effect?
OW: It’s a mixture of all different kinds of fabrics in wovens & knits, such as jacquard, tulle, wool twill, lace, and some novelties. I combined them together to create the textured & shimmering effect I was looking for. It’s fun to play with hard and soft textures at the same time.
You use texture in this collection, integrated with layering. What type of embellishments did you use on the jacket and skirt? Also, We also noticed that some of the pieces integrated intentional tears in the knits. What influenced this approach of texture?
OW: I used buttons as decoration on skirt and jacket; they’re strategically placed on the garments. Those buttons are mainly vintage military buttons. Rhinestones & pearls are also thrown in to give some varieties.
I also liked the challenge of maintaining elegance through seemingly broken, torn knits- the disruptive tone is softened and balanced by the light, transparent tulle. This design concept is somewhat a reflection of modern life – finding order and integrity in chaos.
What influenced the collection as a whole?
OW: Initially I wasn’t sure what the theme should be, but I knew I wanted to present the whole collection in a black color palette, so I picked various textures in shades of black. Then I had all these exquisite antique buttons to utilize, and they go against black beautifully.
In the making process, I started draping and piecing fabrics together. I thought I had the textures I desired, but decided something was still missing. That’s where the tulle came in. It gives dimension.
In terms of style, I wanted to stick to classic silhouettes, so I did the puff skirt, cocktail minidress, long sleeve tee… etc.
With all the above elements combined, this collection came to be military meets royalty meets rock-n-roll with a touch of romanticism. It’s extravagant minimalism.
What type of woman do you design for?
OW: She is chic and glamorous. She’s sassy but not showy. She is classic but certainly not boring at all. She likes subtlety, but doesn’t mind to have fancy accent on her outfits. Her inner beauty shines through on the exterior. She’s one of a kind and just a lot of fun!
You work at Ralph Lauren as well. Does the Ralph Lauren aesthetic influence your work in any way?
OW: Well, yes and no. I learn to love and appreciate “authenticity” at Polo Ralph Lauren. He has classic styles, and he can make just about anything into his American life style.
I have a different take on my own designs. I want people to feel every piece is distinctive and it represents their individuality. I want people to know each garment is thoughtfully made. I’d like to be more of an artist than a designer.
As a creative person, how do you find your inspiration?
OW: I am always collecting things or tears I like… be it a picture of beautiful scenery, a cute crafty object, a cool graphic design, a special vintage handbag or button, or just a beautiful piece of fabric… Inspirations come from everyday life. I get inspired by art, music, fashion, culture, places and people. Different ways of thinking and concept give me ideas as well. My motto is to “never stop learning”.
OW: My goal is to participate in more runway shows and eventually establish my own label. I hope to gain more support from people who like my designs and have the opportunity to sell them at department stores and specialty boutiques. I am collaborating with talented people to make it happen. And I am also networking to find business savvy people to help me to launch the line. Still a long way to go but one step at a time.
Models Chelsea Ignagni, Michelle Marques, and Pauline Ma in Olive Wu • Photos by Stevyn Llewellyn
Shigoto Fashion is a Japanese company that features unique and comfortable Japanese apparel. Typical Japanese street wear such as Tabi boots, Tobi pants, T shirts, and Teko wristbands are designed and made in Japan.
The fashion show had samurai-styled models wearing tobi pants (balloon-shaped trousers), t-shirts, tabi shoes (split toed shoes), and decorative wristbands.
Their collection is available for men and women.
Watch an exclusive interview with two of the models in the show below.
For more information or to purchase Shigoto Fashion, please visit their website http://www.shigotofashion.com/
Interview by Jenny Mar
Photos and video by Stevyn Llewellyn
You originally began as an English Major—What prompted you to pursue fashion design?
I’ve always loved fashion. In fact, at Harvard, as an English major, I used to take as many opportunities as possible to write essays about clothing. I’ve been studying clothing—studying all aspects—since I was a child. As soon as I could be trusted with a needle, I was deconstructing clothing and trying to make my own—and this fascination with the artistry as well as concepts of fashion stayed with me.
When choosing the name for this line, my favorite book (which I wrote my thesis about), Lolita, immediately suggested itself to me, but not for the obvious reason. My line is not particularly about seductive 12 year olds. The name, Lola Haze is actually more of an ode to the book and to Nabokov, who was such a master of his craft, and used words for play and at the same time to create incomparable beauty. And as for the character of Lolita Haze, she’s an iconic representation of the complexity and power of sexuality – and of the various ways it can be used. The names “Lolita” and “Lola” have been culturally appropriated and have come to invoke a simpler flirtation than the original character in the book. So there are many layers of associations with the name now.
Do you think your position at Gap, inc. was helpful to your current design aesthetic?
I’m glad to have had the chance to work there. For designers in the rarified fashion capital of New York, it’s always important to remember what real women want to wear, and what they expect from their clothing.
As a designer, what process do you undertake in order to see an initial design become a completed piece?
I start with impressionistic ideas that can come from anywhere: a certain neckline, or a metallic fabric that catches my eye, or a work of art or a molding on a ceiling. The most fun part of the design process is finding commonalities between, say, Austrian 18th century interiors and Henna tattoos and metallic lace, and then melding these ideas into a cohesive collection. At the same time that I’m pushing concepts around, I’m sketching silhouettes and thinking through the structure and components of each garment.
For your spring 2009 collection, what in particular inspired these pieces?
For Spring/Summer 09 I sought to fuse two disparate inspirations: the paintings of Morris Louis and Prince concerts. In each, I was drawn to the liquidy feeling of bold colors layered on top of each other: transparency that creates a sense of the ephemeral. I drew from these two dramatically different media—watery paint and neon-lit stage smoke—to create the collection, called “Colorfield” in homage to Morris Louis.
Spring and Summer are hot, bold, colorful seasons. I played with stacking bright colors against softer ones, and gorgeous drapey silk charmeuse against geometrically cut mesh to create wearable, comfortable clothes that at the same time really make you feel special. The luxury is not only in the fabrics and design details, but primarily in that transforming feeling of slipping into one of these pieces. You feel playful, special, like the most delicious candy you would ever want.
How do you integrate surface imagery into your work?
Charlotte Pinson and Lola HazeTM have teamed up to create whimsical one-of-a-kind wearable art—and priced to suit the art aficionado on a budget.
The element of visual surprise is an essential for Lola Haze’sTM seasonal intimates collections. I like to integrate playful juxtapositions within the structure of the garments, for example through color blocking or hardware mixed with silk. Working with Charlotte has been an inspiring experience, and working with a surface artist creates a new element for bringing whimsy and surprise to Lola HazeTM. It’s also exciting to bring Lola HazeTM out of the boudoir and onto the street.
It is very admirable that you have followed and pursued your dream to become a designer here in New York. Do you have any advice to people who have similar aspirations?
Work hard and have fun!
– Interview with Laura Mehlinger by Stevyn Llewellyn
Modern Glossy had the pleasure of Interviewing designer, Olive Wu after her presentation at NYU’s Expo 2010 fashion show.
For your spring 2009 collection, what in particular inspired these pieces?