Ann Demeulemeester Women's FW11

[BECOMING-INTENSE]

while I do agree that labeling this as gothic is vague, so is doing the same with Rick or Pugh, which you did. particularly their recent collections have been pretty far from gothic imo, more so than Ann's recent work.

No, since I didn't think "you'll find that in" is equal to labeling, but if
you want to interpret it as so, there's little I can do about it.

Now if we take a look at Gothic "style" in architecture, which would
be dominantly the Gothic church, you might see why Pugh and Owens
becomes relevant. Again underlining the elements of construction,
closed frames etc. Priesthood and dogmatism. Sphinxes(or is it angel wings?)
and nuns. But yes this just some elements, there is others.

As far as the romanticism, the colors, the lace-up boots, etc. is concerned, it makes sense why someone would say this collection (as well as many other Ann collections) at least contains Gothic elements, although, as a summary, yes it is too limiting, it is more modern, amongst other things.

In the sense of styling garments into a goth aesthetic(as read in
your wikipedia link), but I don't think it holds any grounds with
Demeulemeester's body of work. Faust makes a good account on
why this is, in his post above you.

[michael_kard]

I think the original Gothic church concept has little actual relevance to its post-18th century reinterpretation (Horace Walpole is the one to blame I guess), which is basically an aesthetic/literary concept that has yet to be clearly defined.

[genevieveryoko]

Now if we take a look at Gothic "style" in architecture, which would
be dominantly the Gothic church, you might see why Pugh and Owens
becomes relevant. Again underlining the elements of construction,
closed frames etc. Priesthood and dogmatism. Sphinxes(or is it angel wings?)
and nuns. But yes this just some elements, there is others.

In the sense of styling garments into a goth aesthetic(as read in
your wikipedia link), but I don't think it holds any grounds with
Demeulemeester's body of work. Faust makes a good account on
why this is, in his post above you.

If you can find Gothic elements in Pugh and Owen's work, I don't see what's so wrong with finding it in Ann's. Not using the term as an overarching label, but finding visual elements in individual garments. (After rereading your post, I think we are in agreement here?) As Faust has stated, she's not a morbid person...but you could hardly call Rick that either after reading interviews and watching videos of him.

I think it is also important to note the systemic use (or misuse) of the term "Gothic" or "Goth" in the fashion world as of late to be synonymous with anything dark. Like Michael said, we've come a long way from what the term actually once meant.

[lowrey]

No, since I didn't think "you'll find that in" is equal to labeling, but if
you want to interpret it as so, there's little I can do about it.

Now if we take a look at Gothic "style" in architecture, which would
be dominantly the Gothic church, you might see why Pugh and Owens
becomes relevant. Again underlining the elements of construction,
closed frames etc. Priesthood and dogmatism. Sphinxes(or is it angel wings?)
and nuns. But yes this just some elements, there is others.

It seems like you didn't read the second post you quoted to the end.

I read it, don't worry.

perhaps "labelling" is too drastic, let me rephrase. if someone FINDS there to be gothic elements in this collection, I don't see a point in taking offense or denying it, if thats what they are seeing. it doesn't seem any less legitimate than FINDING this in the work of Rick or Pugh.

this is what I was trying to say:

If you can find Gothic elements in Pugh and Owen's work, I don't see what's so wrong with finding it in Ann's.

besides, the first reference to gothic in this discussion seemed to be particularly about stereotypical gothic elements (thats literally what Heirloom said), which have less to do with churches or sphinxes.

[laika]

^I think B-I is referring to "gothic," not as a category of visual/aesthetic signifiers (dark, black, leather, lacing, etc), but as a particular relationship of structure to ornament; form to mass, etc.

following these lines of possibly too abstract interpretation, would you call this baroque, B-I? movement into mass, etc.?

[BECOMING-INTENSE]

^I think B-I is referring to "gothic," not as a category of visual/aesthetic signifiers (dark, black, leather, lacing, etc), but as a particular relationship of structure to ornament; form to mass, etc.

following these lines of possibly too abstract interpretation, would you call this baroque, B-I? movement into mass, etc.?

Thank you!

In a sense yes, since it seems to not close in, or being contained
within a frame, but opens up and broadens out. Flaring, billowing,
folding, draping, cutting open that all seems to pour out. Circular
broadenings at the waist, spiraling, enormous flaps. Despite the
all over heavy feel, maybe a downward pull, it seems to move in
many directions, even upwards. There is lightness to.

One more thing, If I were you I would want this dress.

[ittalidaa]

left: vintage military boots skirt by panos yiapanis. shot by david armstrong. (ca. 2003)

some kind of déjà vu. it is still a stunning collection, gets darker and deeper.

[safeword123]

^ OMG

That is stunning!!!! vintage military boots skirt, how effing cool is that!!!

[BECOMING-INTENSE]

Great connection and memory, ittalidaa. I have that photo
too, somewhere.

Review by Tim Blanks(PARIS, March 3, 2011):

Erik Satie's Trois Gymnopédies, one of the most exquisite pieces of music ever composed, set the mood for a particularly poetic collection from Ann Demeulemeester. And it came from a place that, in its own peculiar way, was poetic too. Backstage, the designer was wearing some silver jewelry she'd cast from birds' feet from her own backyard. That had got her thinking about animals in mythology, in particular the faun, half man, half goat. On her catwalk several models were head to toe in goat fur. With some the fur was touched with red, as if by the glow of a sunrise at the dawn of the world. More poetry.

Demeulemeester's other models were hybrid creatures too, attenuated, black-clad, birdlike, their hair extended into feathery outcrops by Eugene Souleiman, their brows brushed to fierceness by Rudi Cremers. They brought to mind a lost tribe of Amazonian warrior women, bodies slung with belts and bandoliers that were loaded with feathers instead of bullets. It was a deliberately provocative metaphor, Demeulemeester's way of giving peace a chance—or so she claimed postshow—but these women nevertheless looked lean and mean enough to dip their quills in some exotic poison before sending them flying. Not for nothing the burst of Tchaikovsky and the echoes of Black Swan.

The collection was truly about those belts: loose, trompe l'oeil attachments, corset-laced and bunching in the back like a bustle, crushing ruffles, forcing fabric into folds. With leather leggings, wedge boots, and one of Demeulemeester's laced jackets or waistcoats, they made for a strong, dramatic silhouette. "My job is to give beauty," said the designer, in which case she can fairly claim a bonus.

[Faust]

Spot on, Mr. Blanks.

[edhohoho]

Perhaps this designer does not want to be associated with the laymen's definition of the "gothic" culture that is commonly associated with the teen/punk/rock scene...black overdone makeup, crazy overdyed hair, knee-high Doc Martens, cheap slutty clothing.

And yes, that multi-lace up jacket is sick. Sad thing is, I'm not sure it would look as good on a guy.

[BUMMER]

Just so beautiful.
The leather is of course amazing, but the shaped mohair(?) coats are just bizarrely mind-blowing. The feather-dart bandoliers are gorgeous too. All the details from Ann's FW 11 menswear are just that much stronger here. Who fed all the designers Popeye brand spinach for FW 11? I am now officially saving up not for a new coat or boots but for a sex change.. It's not fair being a guy sometimes.

[Ochre]

First decent clip up:


I'm dying to see the full thing w/ more Satie!

edit: Vogue also has a video out but the music is painfully distracting. Great shots of some of the backs and feet, though.

http://www.vogue.com/collections/fall-2011/ann-demeulemeester/video/

[Ochre]

Sorry for the double post bump but Antonioli posted an Ann video which leaves Satie's music intact and I think it dramatically enhances the overall quality of the show. It feels etherial, surreal, and very romantic (in a way only Ann can do).

[eat me]

Love the music choice. Makes a huge difference.