One of the toughest parts of September’s Fashion Week, for us, is balancing our love for the killer Fall collections that are just hitting our racks with our obsession for the fresh-off-the-runway Spring collections. Tough for you, too? Today, we’re giving you a little bit of both, courtesy of the remarkably talented Greg Lauren.
First up: a teaser for the Fall 2012 short film directed by the designer that translates his signature aesthetic to the screen. “I really wanted to capture the film in a way that it felt like a series of paintings,” Lauren said. “My goal was to be conscious of expressing the emotions that are consisted in my work to the viewer, then to associate those feeling with my clothing, my art.”
After you’ve taken in Lauren’s Fall creation, feast your eyes on his brand-new Spring 2013 offerings. Our own Tomoko Ogura went straight to the source, asking Lauren about his inspiration, his innovative use of textiles, and even his off time.
(See the full 9-minute film at W Magazine)
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TO: Is there a particular mood or inspiration to your collection this season?
GL: I call this collection “The Elegant Nomad.” Fall ’12 was about repurposing fabrics and image, redefining luxury in terms of the silhouette and craftsmanship, and the artistry, rather than fabric—[for example] a destroyed blanket becoming an elegant coat. Ultimately, it was about “the pain beneath the beauty,” as explored in the short I directed, FALL.
For Spring ’13, that continued, but the idea is more about taking the elegant, tailored (but unconstructed) pieces and using new fabrics which are not normally used for elegant clothes, especially the washed burlap linen. The pieces are made out of washed, destroyed and dyed linens in different weights, taking basic, organic fabrics and textures, and giving the normally shapeless a shape. I envisioned a ghost of a young, elegant woman, emerging from the sea. I wanted the fabrics to feel like they washed ashore, only after being dunked in buckets of ink and watercolor. As always, there is some element of life in the art studio: the colors are very much what I love about ink drawings and watercolors.
The contradiction of the silhouettes—some with a romantic shape, some with a nod the military details—with the fabric creates an oddness which is beautiful to me. Combining that with mismatched vintage buttons, to me, gave it a wonderfully perfect imperfection.
TO: The new washed linen fabric is fantastic. Is this repurposed? What made you select this fabric?
GL: In every collection so far, I love repurposing fabrics, whether literally using vintage fabrics or materials in an unexpected or ironic way, or destroying new fabrics, or altering them so that they don’t appear the way we normally expect to see. Often, the result is a repurposing of image or style. In this collection, I explore two universally loved styles: military and western, packaged in a tailored fitted silhouette, [I call] “the Dickens Mozart.”
TO: The vintage Levi’s 501 pieces are great. How do you envision these styles being worn?
GL: I really felt that if I was going to add anything to the world of denim, it would be in this way. I grew up wanting 501s, and I thought taking the most iconic jean, from the era when I loved them, and turning them into the romantic silhouettes you see throughout the collection, would be interesting.
Honestly, they are so full of character, soul, and personality, I don’t think they need much. Because of the shapes, they can be dressed up or down, keeping it the simpler the better, with the white linen studio shirt, or a tank top, or of course, a simple white tee.
TO: Are you able to enjoy your time in New York while showing the collection?
GL: It’s hard to actually do much, but just being in New York feels great. There is nothing better than an early morning walk for my first cup of coffee.