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I rarely get hysterical about editorial photography, especially menswear. Copious amounts of editing, for me, hinders the idea that fashion photography is there to demonstrate the creative perspective on fashion. Often clothes are too obscured and the concept too conceptual to convey a clear editorial message. After all we’re all buyers as much as we are editorial fans.

Blazers and shorts both by Jil Sander SS12, regal and tartan shirts stylists own.

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Hussein Chalayan lies under a misty blanket of his previous success. Geometrics, One hundred and eleven and Afterwords but to name a few. Such collections have been a spellbound of scientifically outstanding dynamics, pushing the boundaries of fashion design and blurring the line between technological advances and fine art.

Chalayan’s collaboration with Swarovski has seen further experimentation with light and crystals as well as density through reflection, leading the way for a more conceptual approach.

The designer, labelled by many as the ‘mad-scientist’ of fashion design has spoken firmly regarding his versatility. Clothes, to him, are still items to be worn. Yet design is not diluted to make way for practicality as demonstrated in a fusion of ivory and floral prints in his latest Spring Summer 2012 collection, ‘Sip’.

The house of Chalayan has toyed, for some time now, with the idea of motion and movement. Apparent in the latest collaborative design with Puma as well as being the inspiration for his most recent fragrance launch in collaboration with Comme des Garcons, ‘Airborne’. This idea was once again explored through the idea of floating dresses. Clinically white chiffon insert dresses framed periodic floral prints in a contemporary fusion.

Insert dresses were also showcased featuring neanderthal inspired prints of hunting framed against a backwash of intricate and detailed rock formations.

Electrifyingly reflective metallic formed tailored circle shorts whilst wilting sun hats rounded off a collection strongly directed towards a more exotic climate.

The pleated Bark skirt was also revisited by the house this season, paired with asymmetric cut out jackets in an array of light apricot, sorbet lime and black adding an expected conceptual edge to an otherwise practical and intelligent design.

Whilst prints surrounded floral patterns this season the house translated the idea of motion and speed through embroidery. Featured on waistcoats and sleeveless dresses the brush stroked print laid on a backdrop of black, emphasising the radically generous colour pallet.

Since announcing the design house would be dropping its first name in preference of Chalayan last summer Hussein has demonstrated a more practical approach towards ready to wear designs yet his ambitious and individual perspective on shape, sound and movement allow the technical genius of fashion to merge conceptual design and practicality without compromising on inhouse values and a consistent beautiful aesthetic.

 

 

[images courtesy of gorunway.com]

Dolce and Gabbana showcased prints fit for a Prince this season as Royal crests and colonial influences conquered light weight t-shirts with rolled sleeves, ripped denim in true D&G style paired with low neck line single buttoned blazers all in a breath-taking collection that showcased laid back wealth.

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Raf Simons edged well away from the vast Crayola colour box we were familiar with last season. Illuminated oranges and intense violets were rinsed under a hot tap and the palette wiped clean to leave behind, a colourless mix of harsh leathers and high-waisted shorts in lightweight wools boasting only patent blacks and deep neutral navy.

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