Upcoming Movies in 2013

Of those that I've seen, many of this year's Oscar-nominated movies have left me unaffected. Les Miserables was never going to be my cup of tea/ vat of misery, Django Unchained paled in comparison to Tarantino's finest, and, well, I just couldn't figure out what raised Silver Linings Playbook above enjoyable. So in between catching the rest of this year's nominations, I'm looking forward to the coming months and a fresh batch of movies.

April brings us The Place Beyond the Pines, a crime drama from the director the 2010's heartbreaking Blue Valentine. Derek Cianfrance once again puts Ryan Gosling in the lead role, this time playing a motorcycle stunt rider who goes to drastic lengths to provide for his lover (Eva Mendes) and their young son. He soon has to deal with an ambitious cop in the form of Bradley Cooper, but he is up against a corrupt detective, played by Ray Liotta who seems to be making a comeback with roles in some quality movies this year. Dane DeHaan proved his worth playing cripple Cricket in last year's Lawless, and this movie gives him another chance to stand strong in an accomplished cast. The crew, too, is something special, including cinematographer Sean Bobbitt who has gained recognition for his work on Shame and Hunger. Erin Benach, who provided the now iconic scorpion jacket in Drive, is Costume Designer, having worked with Gosling and Cianfrance on Blue Valentine. It may be surprising for them to follow up the heartbreak and tenderness of that movie with a crime flick, but this team is suited to offer a unique view on a life of crime, with an excellent portrayal of desperation in the face of ill-destined fate.

Another upcoming crime drama with a twist is The Iceman, the true story of contract killer Richard Kuklinski, whose wife and children had no clue about his real job until his arrest in 1986. Relative newcomer Ariel Vromen goes behind the camera, and having only directed short films and smaller productions previously, this is his biggest production so far. Michael Shannon who plays Kuklinski, is somewhat unproven so far too, his greatest part to date being his Oscar-nominated supporting role in Revolutionary Road. Here he plays an efficient killer of 100 victims, with a lack of emotion that impresses boss Ray Liotta, but when his heart gets in the way, things start to go awry. The cast is an odd mix of established serious talents like Liotta, James Franco and Winona Ryder, alongside recognisable yet surprising faces like David Schwimmer of Friends and Chris Evans of Fantastic Four. With a complex storyline of a killer leading a double life, it might just give the cast and crew a chance to prove themselves.

Perhaps the crime drama in the most unusual guise of the three is Robot & Frank, the story of how an ex-jewel thief is given a robot butler by his son, only to warm to his new companion when he realises he could help him restart his heist career. Despite how ridiculous the plot sounds, the film won the Alfred P Sloan Award at the Sundance Film Festival, which honours a feature piece which deals with matters of science or technology. The movie was also nominated for Best First Screenplay at the Independent Spirit Awards for the efforts of writer Christopher D. Ford. The cast is more experienced than the crew and is led by Frank Langella, who is best known for his Oscar-nominated performance in Frost/Nixon. The popular Susan Sarandon plays the love interest, while Liv Tyler is another familiar face. An interesting touch to this kooky comedy set in the future is an original soundtrack by Francis and the Lights, aka musician Francis Farewell Starlite, whose fans include Drake and Kanye West, and have supported MGMT on tour.

And from the future to important moments in history, 42 takes us back to 1947, when Jackie Robinson became the first black Major League Baseball player when he signed with the Brooklyn Dodgers. Having mostly held small parts in television productions, this movie also marks a milestone for lead Chadwick Boseman, the role having being intended for Denzel Washington when Spike Lee tried to develop Robinson's bio pic in 1995. Harrison Ford plays baseball exec Branch Rickey who supported Robinson's career, alongside controversial manager Leo Durocher (played by Christopher Meloni), who coined the phrase 'Nice guys finish last'. Brian Helgeland, who wrote LA Confidential and Mystic River, paints an ugly picture of relentless racism with high of moral and real victories, but his limited experience as a director (A Knight's Tale) causes some concern.

One director that could not invite any doubts is Terrence Malick, following up 2011's Oscar-nominated Tree of Life with To the Wonder. It won the SIGNIS Award at the Venice Film Festival, last year won by Kathryn Bigelow's Hurt Locker. The cast of Ben Affleck, Javier Bardem and Rachel McAdams need no introduction, with ex-Bond girl Olga Kurylenko in her first challenging role since stepping into the spotlight. She plays Affleck's lover, their romance challenged upon their return to Oklahoma where she meets fellow exile and priest, Father Quintana (Bardem) who is questioning his faith. Meanwhile, Affleck is torn between the woman who moved to America to be with him, and the feelings he has for old flame Jane (McAdams). The trailer offers a glimpse of the dreamy style Malick is known for, portraying love as fleeting and fragile as it is intense and strong. If this taster is anything to judge by, this is all intensified by the director's renewed collaboration with composer Hanan Townshend, who worked on the soundtrack of The Tree of Life. With word that supporting roles from Rachel Weisz, Jessica Chastain and Michael Sheen were cut, the standard for this production seems high, as does the fact that it marks the shortest time Malick has gone between work, being known for the 20 year gap he left between Days of Heaven and The Thin Red Line, meaning To the Wonder must be something he feels passionately about.

Couture Spring 2013

Raf Simons' first couture collection for Dior back in July marked an important new era, not only for the house, but also for the world of couture. The man originally known for minimalism was stepping into unfamiliar and unchartered waters, a place where he must tackle traditions and couture craftsmanship that oftentimes results in femininity and frivolity- something yet to be produced by the reserved Belgian. The show was a success. Simons honoured the house's founder with new interpretations of the Bar and other iconic designs, albeit with a fresh twist. Trousers walked down the runway and were initially met with confusion by those hoping for ballgowns- thinking that trousers surely couldn't be couture? Technically they could be, technically any garment could be, once made to measure with couture techniques. And it was this ironic return to the fundamentals of couture that sparked a rebirth for the aged medium, its place in today's world so often questioned by critics and consumers alike. For this reason, the hysteria for Simons' first couture offering did not fade for his second, shown yesterday in Paris.

The show opened with an immediately softer look than Simons' debut, with volume created by soft folds and drape in organza and satin. The soft touch did not sit quite so well with the tailoring, with wrinkles appearing at the waist of only semi-fitted jackets straining on hidden closures. The previously sharp trousers were now higher waisted, pockets cut close to the hip and void of waistbands- a very nineties look when cut in shining satin. The distracting wrinkles appeared on the trousers too, as well as the straight strapless bodices of dresses. The clean, nineties aesthetic was understandable when Simons explained how serenity was the mood this season, inspired by Christian Dior's love of gardens and flowers and the escapism they brought him, something that resonated with his successor. It was a pity that the fit was sometimes questionable, given that there were some exquisite pieces and exceptionally beautiful elements to the show. 

The inspiration gave a more feminine approach to embellishment this season, with sprigs of yellow flowers, splashes of red poppies and clouds of cherry blossom daintily beaded on to delicate silks and fine tulles. Hand made petals flounced over the hips, tiny orange daises crept up the fishtail of a bridal gown and pink roses snaked around the wrists of tulle gloves. It gave the impression that Simons is feeling more at home in the world of couture, but his own taste was evident in the interesting layers in some looks- different lengths of skirt atop one another, clear from the widened hips of a bustier, topped with a sleeveless bolero, sculpted to sit away from the body. The show was at its peak when couture elements sat comfortably alongside his own signatures, and faltered at his interpretations of fit and fabric, but in a world of clichéd couture, his mistakes are embraced, his experimentation welcomed.

  

Another couturier breaking the mould is Bouchra Jarrar, albeit with five more seasons of couture under her belt. She has created a reputation for her daywear take on couture, seen this season in her tailored trousers, asymmetrical coats and and luxury knitwear with a French aesthetic, something she learned while studio director at Balenciaga. Asymmetry is something of a trend through her past collections, saying "I'm looking for the harmony in asymmetry". It was particularly interesting in her draped pieces, using unexpected materials like tweed boucle and Shetland wool with silk and patent leather, falling from the shoulder. 

A more recent addition to the Couture line-up is Ulyana Sergeenko, having shown her second collection on Tuesday.  In contrast, her approach to couture is theatrical rather than practical, something that reminds me of the drama of couture during John Galliano's heyday. Gone With the Wind inspired Sergeenko for Spring, bringing with it typical wares from the 19th century of America's Deep South. Scarlett O'Hara's green curtain dress and black gowns of an extravagant widow came down the runway, topped with wide-brimmed straw hats or fine parasols. Off-the-shoulder blouses, onesies, crochet and even a slingshot added to a twee vibe, making this show more costume than couture. 

The other couture collections on show this week sank into past seasons for me, Chanel's extravagant display not doing enough to distract me from the tasteless tweed creations with gilt buttons that Lagerfeld reproduces all too often. There were plenty of pretty dresses at the other shows but the only other show to match Raf Simon's intelligent beauty at Dior was that of Valentino. The two couture houses are in fact, very alike at the moment, both now helmed by creative new designers who are successfully breathing new life into their brands, while honouring its beginnings. For Valentino, like Dior, Maria Grazia Chiuri and Pierpaolo Piccioli looked to the garden where beauty is savoured and the toil it takes to create it forgotten- not unlike the beauty of couture and the many talented hands it takes to create it. 

Feather-light organza appliqued with delicate floral lace and sequins shimmering beneath layers of sheer chiffon evoked a more romantic garden than that at Dior, the pale colours sure to glisten in the moonlight on a pebbled path. Flowing trains, tulle ruffles and gathered chiffon rustled around silk slippers while hand-rolled tubes of lace wound their way up structured gowns in Venetian swirls. Red broke through the pale sea to add to the idea of a darker romance, with other surprises being the less embellished gowns which concentrated on structure- the cleverest being a red cocktail dress that hung off the shoulder, adding elegance to the cape-like structure that enveloped it. 

The beauty of the pieces, like the blooms in gardens, did not come without a price. One gown was covered in a cage of piping which was all hand rolled, with the piping alone taking 500 hours to create. Another outfit, this time an embroidered jacket and skirt, took 850 hours, I have always admired the artisans that create these pieces, and mourned the loss of those capable of creating such pieces. These days, there aren't many trained or practiced in couture, and in the (few) years I have worked in fashion, I have come across even graduates who have never hemmed a trouser by hand. And while I find the demise of hand sewing and craftsmanship distressing, I wonder if such extremes like at the Valentino show (and others) deem it irrelevant to many in the fashion world. Without taking away frm the utter brilliance of some couture pieces this season, it would be more welcome to see these traditions applied in smaller quantities to garments that could be imagined in the outside world. I suppose we shall have to wait and see the Ready-to-Wear collections from Chiuri, Piciolli, Simons and the rest of the creative genii next month to find out if they're thinking the same thing.

Paris Menswear: A/W 2013

The blur of fashion shows continues, with Versace's couture show last night signalling the end of the menswear shows in Paris. The French capital hosted Hedi Slimane's first menswear show since his groundbreaking time at Dior Homme, while Dries Van Noten broke the mould with my show of the season. 

As the perfect antidote to Milan's bulky outwear and a surplus of volume, Valentino offered a collection that was nipped and tucked in all the right places. The 1960's of London that inspired the design duo were not so swinging, overlooking the energy that coined the phrase to focus on the decade's sharp tailoring. Traditional suiting, peacoats, Macintoshes and capes were given an edge with  leather panels at the waist- in tune with the prim, yet not too proper, style that the brand have perfected in their womenswear collections. A pixelated houndstooth and geometric quilted fabric were other modern takes on the era, along with thick-framed shades a la Michael Caine. The cut was superb, its complex precision emphasised by the use of checks and tweeds, especially in the coat-come-cape to the top-right.

The slim silhouette favoured at Prada was jilted at Raf Simons, with a collection that rejected where menswear had been going, or rather staying, the past few seasons. Trousers were baggy, with the top half not being much more fitted. Shirt cuffs and collars were open to match artfully-mussed hair, flourishes matched by interesting neck ties. Simons cast away neoprene and bonded fabrics that had become favourable with so many, replacing them with traditional wools and cottons. He played around with traditional elements- the knit that resembles houndstooth from afar was in fact a pixelated cartoon of Puss in Boots. Cartoons popped up in the use of logo-like embroidered graphics hidden in question marks on the chest of tailored places- another nod to where menswear has been venturing of late.

Some change was afoot too at Lanvin, but Alber Elbaz couldn't let go of some fashion favourites just yet. Oversized, raglan, sport shapes in neoprene and bonded fabrics featured strongly throughout, as they have done for many a season, but Elbaz and creative director Lucas Ossendrijver cleverly referenced the shape in tailoring, dropping tailored sleeves off the shoulder for a rounded effect. The effect was not so desirable when done in softer outerwear, often simply looking sloppy. Some baggy trousers made the final cut, but the shapes were predominately narrow and often neatly creased. The popular neon sneaker has lost no favour at Lanvin, its popularity strengthened by the appearance of some questionable moon boots. The emerging trends in quilting and tweed also made appearances in a collection that balanced experimental design with commercial luxury.

In what was the show of the season in my opinion, all these burgeoning trends united at Dries Van Noten. Jackets were soft on the shoulder, trousers generous in proportion, collars open, tweed flowing and quilting growing. Yet this show looked nothing like the others, for the attitude was devil-may-care, and its fabrics truly natural as opposed to technically so. Socks were textured mohair, paisley prints came trimmed with tassels, double monk straps were made rustic with wooden soles, while navy pinstripes were more Mick Jagger than Mafia. While Raf Simons may have laughed at current menswear trends, Van Noten actually changed them. If previous quilted coats looked too geometric and nineties, here they were relaxed in paisley parkas- a more accessible form of the trend. The collection also had an edge- the expected seventies nod to denim was painted to look like leather and the knitwear looked more like luxury sleepwear than homespun hippy threads. What I loved about this collection was that it gave you so much to soak up, thirsty to see the next look, desperate to feel the physical textures of the many fabrics and to examine the special details- unexpected linings, hidden buttons, hand-sticthed embroidery.. It put imagination back on the table.

Meanwhile at Saint Laurent, the nonchalant vibe came in a more predictable format. Models came down the runway dressed as what they actually were- boys in indie bands with fashionable aspirations. There were skinny suits, leather bikers, check shirts, oversized knits, cuban-heeled boots and some narrow scarves- standard uniform for Hedi Slimane's obsessions. In fact, this show looked more like a styling gig, with the individual pieces often of bad taste, after all, sequinned argyle knits and Dalmation coats sound more like something you would find in the children's department of Next, as opposed to the  (once) great fashion house of Yves Saint Laurent. For his first womenswear show, Slimane raided the archives of YSL and it would seem that for his first menswear offering, he just raided his own.

All that being said, there's nothing wrong with defining a personal style and sticking do it. After all, it's worked pretty well for Rick Owens, whose dark army stomped down the runway once again in those leather hi-tops/boots that have gained a cult following, along with everything else Owens puts out there. His urban warrior this season came by way of the Ice Age, and brought with him a shade of tusk to marry the favoured black, Neanderthal hands donning gloves of fawn fur, and of course, the heavy boots, this time with a hiking sole to aid Big Foot through the snow. There was something delicate to Fall's boy though, many of them sporting long wispy hair, while others wore their cottons back-to-front, collars open to reveal the nape. Unsurprisingly, it wasn't a show at which to spot trends, for Owens is a trend all in himself.

Another trendsetter who dances to the beat of his own drum is Ricardo Tisci. The candle lit catwalk at Givenchy suggested a return to his long-lasting obsession with religion, but this time the worship was more cult than Christ, stemming from the inspiration of a place that has long fascinated the designer, America. It suited the label's mainstays of printed tees and sweatshirts, now emblazoned with neoclassical imagery and offered in taffeta, leather, velvet and cashmere. The hefty shoulders of American football players inspired more couture sportswear, with leather and suede panels laced together by hand with intricate braiding techniques. Many legs were bare on the catwalk like on the playing field, while the others were covered in slim tailored trousers. The sporty raglan sleeves translated to tailoring, sharply traced with metal zips and mirrored by the necklines of collarless coats. Crisp shirts with matching ties were other elements of polish, in contrast with the bulky quilted bombers tied around the waist. It was a show of contrasts, and while we didn't exactly know where we were going at some points, that can be half the fun.

The destination of Kim Jones' creative journey at Louis Vuitton's was a little more obvious, the designer having recently returned from trip through the Bhutanese cloud forest of the Himalayas. The usual result of such inspirations were there- parkas, duffel bags, animal hides and prints, but their execution was the inventive part. The spots of a snow leopard were mimicked in the mink peeking through holes punched in a cashmere coat, while a graphic knit of a the same animal came courtesy of the artist brothers Jake and Dinos Chapman. The duo also designed a 'Garden in Hell' print of Oriental flora and fauna, which when cut into a tux, looked unfortunately tacky. The now very clear trend for checks prevailed even in the mountain tops, with Bhutan's own checked patterns being used for slim suits worn under quilted parkas. Jones' skills in cut were evident in a seamless cocoon coat, with his soft tailoring of belted coats particularly desirable. Cashmere beanies and logo-emblazoned rucksacks were the perfect accessories to Jones' stylish traveller, with the cufflinks carved from stones taken from Mount Everest epitomising his creative take on luxury. 

Milan Menswear: AW13

While London is known for its young talents, Milan prides itself on heritage brands continuing their legacies of luxury and craftsmanship. The Italians' traditions in tailoring for cranked up for a strong showing of outerwear for Autumn/Winter, while Spring's focus on colour was replaced by a keen interest in materials, with the trend for tweeds and tartans growing all the while. Take a look below for my round-up of my five favourite shows from the week.

 

Salvatore Ferragamo's Spring collection was a plethora of colour so it was nice to see the attention turn to texture and construction for the luxury house's fall show. Outerwear was the main focus, where designer Massimiliano Giornetti explored the possibilities of layers- mounting smooth leather on wool felt for contrast lapels, using all materials from quilting to shearling to line the sumptuous coats, in every imaginable style, from cape to biker. Perhaps to allow for so many layers, the outerwear was generally oversized but kept sleek with the use of metal snap buttons, precise top stitching details and exposed zips. Giornetti created a sort of dark iridescence, using shades of teal, peacock blue and navy that, combined with the dominating black, were reminiscent of petroleum. 

 The quilting trend continued at Calvin Klein, this time in more complex patterns, in contrasting layers and panels to graphic effect. Italo Zucchelli transferred his inspiration from sportswear to formal wear by embossing the patterns on to luxurious wools for tailored pieces, as well transforming them into knit patterns. Shapes were quite boxy, with the utilitarian vibe stretching to the use of patch pockets on jackets, sleeves and even tailored trousers. Like at Ferragamo, the colour palette was dominated by black with a few select shades of maroon, aubergine and navy making appearances.

Unsurprisingly, Kenzo had more colour to offer, looking to the skies for inspiration. Spring's jungle print was replaces with soft, fluffy clouds on pastel blue, later seen in a red colourway, while a cartoonish, mini print in monochrome also made an appearance. Block colours were strong too, with Humberto Leon and Carol Lim injecting their sense of humour by lining pastel blue outerwear with cream shearling as fluffy as clouds. The silhouette was slimmer than at a lot of the mens shows so far, with the exception of some A-line coats, but the cropped trouser trend certainly stayed strong, exaggerated by the pairing of chunky boots. The design duo once again collaborated with jewellery designer Delfina Delletrez, this time resulting in button coverings and metal pocket squares, as well as starting a new relationship with hard-shell manufacturer Boblbee to create lust-worthy backpacks.

Costume National had less colour not no fewer desirable pieces in its Fall show. Apart from thankfully few snatches of a questionable shade of blue, the show was largely monochrome, even in the details like white zips and lapels on black outerwear. For the most part, the looks were simple and conformed to the brand's classic with a twist style. Models marched with attitude in sturdy leather boots, which matched the mood of the collection, partly inspired by a mug shot of a young Mick Jagger. Double-breasted coats, biker jackets, turtle-necked knitwear, leather trousers and felt fedoras featured throughout., and while this may be nothing new for designer Ennio Capasa, I say if it ain't broke, don't fix it.

Frida Giannini's collection for Gucci drew some obvious references from military tailoring with solidly structured outerwear and sharp suiting, with generous lapels stretching across broad chests to widened shoulders. Cream trousers harked back to Napoleonic times, and while the show's other shades of red, grey and moss would not look out of place on the battlefield, numerous looks of solid black, graphic houndstooth and checks were deemed suitable for more modern warfare. Accessories fitted into the overall style of solid and sturdy, including a hefty leather backpack sure to sell out in no time, along with leather boots with double straps around the ankle- perhaps a clever nod to the new street style trend of the double monk strap? Giannini avoided  an obvious outcome from a much-visited inspiration by keeping things simple with no signs of metallic buttons or haberdashery, and by keeping necklines soft and free from ties, often replacing them with silk scarves. This collection stood out by not layering tailoring upon tailoring like many other shows, and produced countless pieces that men would actually wear, as opposed to solely admire.