I met with Romanian designer, Dora Abodi, in New York, to talk about clothes, creativity and comics

Posted in Uncategorized by nudepink on February 21, 2010
Dora Abodi Spring/Summer 2010
The clothes are pretty but tough. What is femininity to you?

I like to see women being pretty and chic and sexy in a very refined way. I like to be playful and funny so the collections have an interpretation of playfulness and a sense of humour. I hope people will laugh with me.
How has the response been here in New York? The line seems to have grown very organically.

It’s an interesting story because when I was here last year at fashion school, the creative director of Nolcha Fashion, here in New York found me on the internet, but I didn’t have a website. She asked me to send her more pictures. I told her I was in fashion school and about my plans to launch my brand. When I completed my first collection, I sent her the pictures and she told me she liked it and she invited me to show, so last year in September, I had a fashion show during Nolcha Fashion Week and this is my second time.
People have been talking and that can be very powerful, word of mouth. I started small. I don’t have a public relations person yet, just a website. In Hungary, a few magazines wanted to feature the clothes and asked me to work with them one month after launching the brand. People liked it and after that a lot of other magazines from other countries – Germany, Italy and Spain – started to write me. Fashion bloggers have been very good to me.
Who is the Dora Abodi girl?

I do not really have a target group, but I always have a story in mind and I like to create heroes – woman heroes. I am always thinking of classic but trendy icons. I have my own icons, like Madonna or Catherine Deneuve, Vanessa Paradis, and Angelina Jolie. I like these women, the easy way they wear clothes, so maybe it’s a romantic point of view because I like to create something cinematic. This is the thought behind the clothes, always.
All the collections have a story. My first collection was about a love story where people started to kill each other, so there are elements of bondage and suffering and also happiness and euphoria. The second, my Spring show, was about love and funny love stories. The third, for Fall 2010, is about an underwater world, Atlantis, and it was inspired by the glam rock era of David Bowie. It’s hard to explain because I have a lot of things in my mind.
You did a cover for Le Cool magazine and your spring collection was inspired by Lucy and Bart’s sculptural forms. How important is art to your brand?

I think it was my environment growing up. My grandfather is a famous painter in Hungary and Romania and my parents were also painters who live in Budapest. I was born in Romania and my family moved to Hungary. Art is very important to me as I grew up in a very artistic environment, always going to exhibitions and being surrounded by art. That was our life. I grew up in my father’s studio. I love paintings and books and literature, I love science fiction, and I read a lot of futuristic stories.
I love French and Belgian comics in particular. When I made my first collection, I drew a fashion comic and that became my lookbook. After that I had an exhibition of my fashion comics, which Le Cool heard about and then contacted me to ask me to do a cover. Comics are always an inspiration in my collections. The funny dresses and heroes, the architectural and cyber-punk looks tell the ultimate fashion stories. Lucy and Bart’s work perfectly captures this comic book aesthetic that I find so exciting. I love it dearly.
Young designers have told me that the way for them to make it, they must be more creative than the couture houses…

Yes, you have to introduce something completely new. It’s always a fight, to create something no one has seen before, because it can seem that everything has been done. There is a lot of suffering I go through to come up with something I haven’t seen before. You must try to make very different clothes.

1969 – 2010

Posted in Uncategorized by nudepink on February 12, 2010


Alexander Mcqueen

Why, why, why, why, why, why
Do you say good bye
Goodbye, bye, bye, bye, bye

-The Beatles

Light Geometries at Jeremy Laing

Posted in Uncategorized by nudepink on February 11, 2010

Jeremy Laing’s vision tends to look towards geometric shapes and patterns. He began his career as an apprentice under Alexander Mcqueen, and while Laing’s vision is anything but theatrical and overtly sexual, his deep knowledge of tailoring is obvious. It’s exciting to see his progression as a designer, to see his singular vision grow and his confidence in his work. For spring, his collection was his most confident yet.

It was about fluidity and chiffon draping, about toughness and lightness. He sent out short, minimal tees worn with a long, draped chiffon skirt worn over leggings, which had a sheer panel just above the knee. It looked like a cross between shorts and leggings, in creams and greys. There were structured, boxy and asymmetrical vests and jackets with a single square lapel that crossed over the chest. Shirts and sheer pencil skirts were worn over shorts. Geometric patterns and lines that one might use in math class were on draped dresses that were tucked in at the waist, in a palette of greys, creams and blacks. There were pops of pink, too, in a simple button down chiffon blouse and a draped dress. It looked as though it was a single piece of chiffon that was simply wrapped and draped around the body.

It felt as though the collection had nothing to hide, in the sheer pants and skirts worn over shorts, and simple yet strong construction. The show felt like a mature, focused collection about lightness and simplicity. There were no grand statements about reinventing the wheel, but pretty, light, modern things that women will want to wear. These women know what they want, and, clearly, so does Jeremy Laing.

Interview with the designers behind rising label, THOMAS, Drew and Mikey Thomas

Posted in Uncategorized by nudepink on February 10, 2010

How did you start the line?

Drew – We used to work together at urban outfitters. we were just sitting at home one day just making shirts because we were bored with all of our clothes, and so we started making them, and then we walked into upc boutque and the owner Maha and Ahnet approached us and were like “where did you get your shirts? so just told them that we made them.

Mikey – Maha and Ahnet suggested to us that we design a mini collection for the store, about 6-8 pieces, and we brought them in and were making shirts on consignment at first, and it evolved from there.

So how do designers as young as you are have such a clear vision. I mean, I look at the clothes, and they’re focused.

Drew – I feel we’ve always had a similar aesthetic, but since theres two of us, we kind of, we may have different ideas, but then we see how we can mesh them into one

Mikey – Drew studied fashion, and I studied sculpture and installation. We’ve just had a similar taste in fashion, and in everything, really. It kind of organically happened.

The pieces aren’t gender specific. To me, they look very New York. Would you like to show in toronto, or  New York?

Mikey – We’re really grateful for the attention we’ve gotten elsewhere. What Maha and stores like upc are doing is amazing for young designers. I feel like any designer, in order to progress has to leave Toronto, but not physically. Like Complex Geometries, they used to show in NY and now they’re taking it into their own hands and they travel the world. I think leaving Toronto, though not permanently, has to happen at some point if you want to be an international brand .You have to come back and show your support. Like what’s happening with London Fashion Week, and everyone showing there again.

Where did you learn to sew?The pieces are incredibly well made.

Drew –  I’ve been sewing for 8 years, since public school. I used to make my own clothes.  it’s kind of been a learning experience.

Mikey – That’s the thing, we’re always teaching ourselves how to move forward. It’s been a rush, because we’re going into production with the spring season, but at the same time we sent samples to Milan, so everything is happening.

Where are the clothes made?

Mikey – we’ve been making them ourselves. We just hired someone to help us with production, so we can move into fall. We produce the samples

I understand you made a shipment to NY. Can you tell me about that?

Mikey- Eva, the store in New York, has been interested. We sent out a bunch of lookbooks, about 25 worldwide, and we want to keep the first season pretty small, because there’s the four of us and we don’t want to get overwhelmed too soon. We’re happy with the way it’s gone. Hopefully Milan places an order…and NY is amazing


And speaking of Rad Hourani…

Posted in Uncategorized by nudepink on February 9, 2010

Backstage video of the S/S 2010 show

Silver Falls at Rad Hourani

Posted in Uncategorized by nudepink on February 8, 2010

Originally from Montreal, Rad Hourani’s design philosophy is that his clothes are not from any one place, but from everywhere. Boundaries of gender, season or technique do not interest him, or even seem to exist in his mind. He is one of the designers in New York with a singular, focused vision. This season, Hourani continued writing his manifesto on androgyny. This was power dressing in an extreme form, because who wouldn’t be fealress in these clothes?

Hourani saw lightness for spring, in silver. There were fluid pants and long tanks that looked like liquid silver, and vests had long silver fringe cascading down the front, which looked like tinsel. It could also be found on the edges of shorts. There were tight leather shorts and square cut collars on tees and vests. Pants were slashed repeatedly, near obsessively down the leg, and some unzipped at the knee to become shorts. Indeed, jackets with zippers wrapping around the arms,could be unzipped at the shoulder to reveal bare arms. Some had mesh inserts, while others were like an oversized men’s blazer with pointy lapels. The ability to transform was everywhere. The shoes, for both men and women, was a square-toed chunky black boot that will surely become the shoe of the season.

More photos of the Rad Hourani Spring/Summer 2010 show after the jump!


Frantic Optimism at Givenchy

Posted in Uncategorized by nudepink on February 7, 2010

As the old french fashion houses in Paris struggle to stay relevant and hip, Riccardo Tisci continues to produce arousing and youthful, yet mature collections for Givenchy. His clothes have the feeling of a young designer, albeit one with an almost encyclopaedic knowledge of couture, who is still excited about unleashing his vision into the world.

Following his heavily middle eastern influenced fall 2009 couture show, Tisci’s mind is still somewhere in that part of the world.  For spring 2010, he said he wanted to create a geometric collection, and to design his own keffiyeh, the traditional headdress typically worn by Arab men; a psychedelic keffiyeh as he called it. The collection, inspired by arabic masculine tailoring and the psychedelic sixties, showed a restrained madness.

It began with sharp, black and white jackets worn over angular jumpsuits, and quickly moved onto the main attraction. A psychedelic zigzag print in black and white, or military green covered draped pants, blouses, jackets, and baby doll dresses. These were worn over leggings, kilts and narrow pants in the same print or black  which gave the clothes a snakeskin effect, and helped to push the super skinny silhouette Tisci proposed this season.  There were unexpected pops of sweet femininity too, in loose chiffon blouses and lemon yellow wrapped and draped tulle cocktail dresses. The collection had an underlying sexuality in the way the clothes fit on the body- super skinny, strict pieces mixed with fluidity, in the wispy draping and frills that hung on the blouses and dresses.

The standouts were the shoes – platform wedge heels that continued the near schizophrenic  unleashing of zigzags onto the foot. Sometimes they were consumed by twisted silk, as were the bags. Tisci managed to make toughness friendlier and lighter, mixing romanticism with a razor sharp modernity that could be seen in the tailoring, which focused on triangular shapes. It is alluring and seductive, this feeling of power and lust that these clothes evoke. They are obviously for a woman who knows exactly what she wants, who works hard and plays hard, but wants to maintain her femininity, and never looks back.

While the frantic, graphic prints may signal the losing of one’s mind, Tisci’s head can sit proudly on his shoulders this season at Givenchy.

A New Beginning

Posted in Uncategorized by nudepink on February 7, 2010

Gareth Pugh is taking a departure from his usual modern girl from the future, and is thinking about beauty. For his spring show, he sent out girls who looked as though they were princesses that had been in a fight on the planet of Alderaan. Backstage, he said he wanted to move beyond creating a “weird world”  and make wearable, pretty clothes for this world. As he has in season’s past, he showed both menswear and womenswear in the show.

It was about slashing, shredding, ripping and tearing garments, with shots of extreme tailoring. Pugh obviously believes that clothes have the power to transform us, and this could be seen in the short, structured bolero jackets which were corseted and could be unzipped in panels. The sleeves and torso could be unzipped as well, creating a block effect. Others had origami-like folded lapels and were pleated. Long, light dresses and hooded jackets had cutouts that looked as though someone had mischievously  slashed them. There were chiffon and crepe slashed skinny pants and dresses. Sheer, floor length dresses in dove grey had capes that flowed behind the models as they walked. Short, body conscious dress in grey metallics looked as though they were poured from a mold.

There was more fluidity in the women’s pieces than we’ve seen in seasons past, and more structure for the men. Both wore long shredded and torn floor-length sweaters. The pieces were so torn that they looked as though they might come undone, and this gave them a vulnerability that is new for Pugh. The overall look was rich and luxurious, in a palette of shades of grey that showed that grey can be quite pretty. Although in the past, Pugh’s shows have looked like a sort of apocalyptic glimpse into the future, this time it felt like a new beginning.

He said it was a conscious decision to get rid of things that had been around a while, that it’s part of the development. He did this, and widened his definition of the Gareth Pugh customer. It must have been his mission, to sell clothes, especially now as fashion houses crumble around him. How it will sell remains to be seen, but it appears Pugh is having lighter dreams at night.

Shredded and Torn ladies at Jil Sander

Posted in Uncategorized by nudepink on February 6, 2010

Raf Simons has long ago proven he is the king of restraint in fashion. His work, often anchored in androgyny and classicism, has an anonymity to it that is seductive and utterly charming. He pushes extremes, but within boundaries. His abilities to manipulate traditional fabrics and classic shapes consistently show his understanding of strong fashion – construction, imagination and an obsessive attention to detail. He sees fashion as fashion, nothing more, and not an opportunity to indulge in every creative whim.

Simons doesn’t show us every single interpretation of what a woman could be, but what she is – a powerful, refined creature who needs simple beauty all around her. He demands a level of sophistication and expectation of himself, his customer and the audiences at his shows.

For spring, those expectations are quite high, and rightly so. Backstage, Raf Simons said his spring show was all about Jil Sander vs. nature vs. freedom. If his designs are for a woman who typically craves a freedom from conventionalism, what is she running from this season? If she was debating whether to fight or go off in flight, she chose to stay and fight. Indeed, the pieces looked as though they had been torn in a fight-crudely ripped pockets hung on skirts and pants. Randomly scissored pieces of fabric hung limply from shift dresses, as if they had been stapled on. Frayed edges were on men’s blazers, on the sleeves and lapels. There were women’s blazers with square cut outs on the rib cage, skirt suits whose pockets were cut out, and peep holes running down the side of a skirt. The collection was like a game of peek-a-boo. It was a show of polar opposites. Prim, ladylike classic pieces exuded a raw sexuality in the fraying and cut outs. Shift dresses were slashed all the way up one leg, and tanks had strips of organza piled on top of one another, again, as if they’d been stapled on in a hurry. Dresses made of netting with the silhouette of a woman’s body filled in and covering just the bare essentials made an appearance, as did sheer t-shirt dresses with narrow strips of organza hanging from them, which gave the look of tassels

The pieces were restrained in their shapes but there was some movement in the wide leg trousers and loose, relaxed shirt dresses.

One standout piece was a men’s blazer that had been horizontally cut in half, just above the pockets, and was fused with a netted blouse.

The shoes were industrial looking pumps on wooden platforms with metal heels that looked like paper clips. The edges of the shoe were crudely cut, which gave them a slight Flintstones feel. They were made in crocodile, mesh to resemble a sneaker, and a shiny, chameleon-like green and blue that looked like it had been found on the sea floor.

The show’s strength was its daywear – the blazers, blouses and dresses. Simons didn’t seem to be making any grand statements, simply thinking of nature and a raw sexuality that is within us all. We all have needs – work, loves, sex, and above all, a need to wear beautiful, artful clothes.


Men’s S/S 2010 – a film

Posted in Uncategorized by nudepink on February 5, 2010

Alexander Mcqueen menswear spring/summer 2010 short film, directed by David Sims