OLIVIER THEYSKENS

The fashion industry is widely-renowned as one of the world's most competitive - for every designer that manages to establish a successful label, there are just as many that lose financial support and fade into obscurity. For example, French designer Olivier Theyskens set up an eponymous label in 1997 and managed to gain an A-list clientele, with megastars such as Madonna and Nicole Kidman commissioning his designs for the red carpet. Theyskens hit the peak of his career in 1999 with two critically-acclaimed collections, yet despite the designer's talent and distinctive aesthetic, he failed to secure financial support and his label collapsed. In a short space of time, Theyskens' gained a cult following that is still relevant today, and looking back at his own collections it is easy to see why.

Theyskens' designs often explored the juxtaposition between frailty and strength - his S/S 1999 collection was based mainly around a monochrome colour palette, and materials used included black leather, sheer latex and delicate organza. Whilst some looks were more traditional in their aesthetic, Theyskens' preferred to shock, sending out masked models in rubber bodysuits and exaggerated black gowns. The imagery for the collection was extremely distinctive and is said to have inspired later collections by icons such as Alexander McQueen - there are several similarities between the two designers, such as their penchant for gothic imagery and dramatic silhouettes. There is also an element of the grotesque to some of the looks - one of the most striking examples is of a model whose face is almost entirely obscured by black bird feathers attached to her black bodice, giving the impression that she is being devoured by crows.



Olivier Theyskens S/S 1999



Olivier Theyskens S/S 1999

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ANGLOMANIA

It is impossible to look back at the history of fashion - especially the history of British fashion, without acknowledging the iconic Vivienne Westwood for single-handedly igniting the punk movement. Although this show has arguably become more famous for Naomi Campbell's fall than the garments themselves, the combination of an all-star cast of models and dramatic, luxurious clothing means that this collection is still as breathtaking now as it was at the time of its conception.

Quintessentially British, the collection incorporates the two sides of the classic British aesthetic. Westwood weaves swiftly between the two stereotypes of the rebellious youth and the chic aristocrat, resulting in an overarching social commentary headed by the Brit poster girl of the 90s, Kate Moss. Westwood even worked with Scottish craftsmen to create her own unique take on tartan that featured heavily in the clothes, establishing tartan as the go-to fabric of punky teenagers of the time. 

The accessories are equally iconic - from heavily layered necklaces branded with Westwood's signature orb logo, to oversized headwear and four-inch platform heels, the overall theme of the collection was pure exhibitionism. Everything was done to an extreme degree, resulting in the kind of over-the-top glamour that has recently disappeared as fashion continues to move more and more towards clean, unfussy silhouettes and colour palettes. Being an Autumn/Winter collection, it is also inevitable that the majority of the shows best looks are complimented by killer outerwear - whether it be full-length, silk-lined fur coats or extravagant tartan capes, the coats of collection were arguably the highlights, proving that fashion can be cosy as well as fabulous. 

MET GALA 2013

This week saw the return of the prestigious Met Gala, the annual showcase of some of fashion's most incredible red-carpet looks. Swarms of high-profile celebrities flocked to the event to be photographed in this year's dress code 'Punk Couture' - a theme which has recently been explored in collections by the likes of Margiela and Dries Van Noten. The results were as often amazing as they were questionable - Anne Hathway, for example, wowed in a floor-length vintage black number complete with sheer detailing and a daring bleached crop, whereas Madonna made headlines for the wrong reasons, opting for a custom-made Givenchy jacket teamed with cliché fishnet stockings.

The event also served as a showcase for some of the highlights of the recent A/W collections - Katy Perry looked incredible in head-to-toe Dolce & Gabbana, whilst Miley Cyrus chose a floor-length sequinned fishnet dress by Marc Jacobs for a subtle take on the theme. The event also saw Riccardo Tisci returning briefly to the world of couture after Givenchy announced earlier this year that its couture line would be on hiatus - Beyoncé chose a dress that used the beautiful flame-print fabric from the latest collection, yet when teamed with a sequinned black corset the overall aesthetic was slightly top-heavy and overly bulky.

Yohji Yamamoto S/S 1999

Yet another iconic collection comes courtesy of Japanese designer, Yohji Yamamoto. Famous for his reluctance to incorporate colour into his collections, his penchant for all things minimalist entered the mainstream in an era in which Italian powerhouses such as Gucci and Versace were dominating the market with their bold, luxe designs. Yamamoto's dedication to his signature aesthetic and eye for tailoring soon gained him a cult following which has continued to develop over the years. 1999's avant-garde presentation has gone down in fashion history as one of the greatest, partly thanks to fashion darling Shalom Harlow (star of McQueen's celebrated 'No.13' show).

One of the main reasons that Yamamoto is so celebrated is that he manages to use texture to add interest to a monochrome colour palette. The overall feel of the collection was one of ethereality - soft black chiffon and white ribbon were amongst the materials used. There was also innovation to be found in the "Secret Dress" - a white bodice with a full white skirt was revealed to have zip-away panels which stored a heavy linen cape, headwear and even white gloves.



The Secret Dress



HUSSEIN CHALAYAN A/W 2000

Having recently collaborated on an an essay exploring the relationship between fashion and utility (you can read here if you're interested!), it made me consider the real definition of fashion - many define the likes of couture as 'wearable art', yet many of fashion's most iconic pieces have been far from wearable in everyday life. Perhaps the best example of this comes from Hussein Chalayan and his innovative A/W 2000 collection, a collection which saw him win the British Designer of the Year award for a second consecutive time.

One of the most interesting aspects of Chalayan's approach to design is that his collections are always focussed around a concept, and his garments usually have several different functions. Even with his latest collection Chalayan displayed a series of stunning gowns that were shown on the runway to be reversible, which in some ways does incorporate the notion of utility into his designs. What is perhaps ironic is that, in theory, Chalayan's designs are incredibly practical - this A/W 2000 collection, for example, saw him display the now-legendary Table Dress, a garment which literally is a table and a dress. All that the model must do is step into the centre of the table, pull up the folding slats and attach them to her belt loops, a genius design which had never before been seen by the fashion industry. However, it is at this point that we must ask ourselves whether or not we would ever walk the streets wearing a dress fashioned from a wooden table - a question to which the answer is, most probably, no.

BOMBAY

There are few fashion houses that can make its own rules, yet every year the iconic Karl Lagerfeld stages his Métiers d'Arts collection, a spectacular display of both exquisite craftsmanship and cultural discovery. Although the shows are always incredible (this year's collection, based on Scotland is also worth a look), without doubt my favourite is the 'Paris/Bombay' collection from 2011, an Indian-inspired extravaganza staged at the Grand Palais.

The purpose of the annual display is to highlight the talent of the many artisans that work in houses owned by Chanel - from embroidery to embellishment, every detail is hand-sewn, meaning that the collection is the true embodiment of couture's splendour. Although the clothes themselves were exquisite - think flowing fuchsia saris and metallic gold tweed, it was the accessories that really completed the look. From jewelled nose rings, ruby bindis and intricate hand chains, the level of decadence was extraordinary as models walked the runway literally dripping in gold. As always, Lagerfeld provided ridiculous extravagance that can only be achieved in the world of couture.

DANTE

Part of me feels like I should apologise (this is, after all, my second McQueen post in the past four days), but I recently got McQueen's Savage Beauty book and feel like, only being 20, I only really got into fashion a few years ago and there are so many incredible collections that this book has made me aware of. As with all the best McQueen collections Dante contains a strong concept, historicism, several references to religious iconography and, of course, beautiful clothes.

Based on the conflict between Heaven and Hell, the collection represents the divine contrast by using white lace,intricate florals and lilac silk to juxtapose black leather and bleached denim. Although the two ideas are usually presented as separate looks, one of the highlights of the show saw a delicate lace top which extended to completely cover the models face, half of which was gripped by a skeletal claw, adding the classic McQueen reference to the grotesque. As the show progressed McQueen's representations of the dark side continued to become more and more literal until one model walked the runway covered head-to-toe in a black lace veil which, when strewn over a pair of reindeer antlers, created a striking portrayal of the animalistic nature of "Dante". 

Lace corset used in Dante, shown at the Savage Beauty exhibition