1919-2009

As a preface to this show, Ivan talked a bit about his own background and early interest in history and collections. He had a museum set up in his garage when he was thirteen. After completing a degree in Classics (UBC) he started to buy and sell to survive. In 1970, he worked as a volunteer at the Vancouver Museum and then was hired on to catalog the general collection. He continued to work there for twenty years as the Curator of the History Department. He has his own fabulous collection, in his house, and is a traveling museum and a continuous source of education and fund raising for a host of worthy causes. He has found and saved men’s and women’s clothing from the 18th century so without his careful storage, where would this record of history be? He would like to see a costume and textiles museum to store his many books, patterns, sewing tools and everything to do with how people change their appearance.

Ivan presented a slide show which began with a picture from a Canadian magazine/newspaper from July 1896 -Toronto and shows a Classic Profile from that year. It is a very ‘natural’ profile with the waist band at the centre of the body. First came a shift (slip) to cover the body and then a bustle pad and 4 petticoats, a corset cover and one more petticoat. The skirt was conical and did not show the legs. The sleeves were a focal point with the width of shoulders the same width as the hem of the skirt. The shoulders were squared off and the posture forced to be erect by the tight corset. The stomach was forced out but this was disguised by the bustle in back.

In 1898 a French woman invented a corset that was straight down the front and created a flat stomach, however women were still forced to stand with an exaggerated arch to their back and still used bustles. Petticoats were made out of stiff taffeta. Skirts clung to the body without revealing legs or skin.

1900-1903 The emergence of the ‘Sweetheart’ neckline. Corsets were worn from an early age – beginning as early as one and a half years of age. Women were ornaments in men’s houses. Corsets still caused health problems.

1904 Puffy sleeves and Pouter pigeon chest. The profile should always have an S shape curves and no straight lines. An example of this dress was found in Victoria. The dress was worn with a wide brimmed flat hat. Flat hats were worn on top of lots of hair – puffed up style and lots of hair pieces.

1907 – The body shape changes again. Empire waist line. Ladies Home Journal – 1908 shows a raised waistline, making the legs look longer. Attention was drawn to the face. Women could now vote, although their opinion was to be the same as their husbands’ and they had to own land before they could register as voters.

The body became less important in the 1920’s – in fact, women looked like boys and were almost ‘invisible’.

Lots of Asian influence was in evidence – the Kimono sleeve was popular, the size of the skirt was reduced and the emphasis continued to be on the face. A long parabola or umbrella was carried to create a parallel line beside the woman and made her look taller. Hats became even more fantastic and exaggerated; the bigger a hat was, the more ‘handicapped’ and fragile the woman became and had to be looked after rather than being independent. Hat brims could be 24 to 36″ across and hat accessories were worn for each season. Flowers and birds would be for Spring, fur for Winter.

High collars helped hide the skin; women were covered, seen but not heard. They were said to be most attractive between 35-45 years old. The hat continued to be a beacon for the face. Hats were so exaggerated that Punch Magazine made fun of them, picturing them as carriers of dead animals. Skirts raised above the ground, corsets lengthened and in an Eaton’s of Winnipeg picture 1910-1911, bustles had disappeared.

1913-1914 went from an Empire Revival to Asian influence and French designers. The Japanese Kimono provided a long curve to the body. (Picture) The most attractive part of the body is at the nape of the neck.

Prior to this, the structure of the garment was emphasized and dull colours prevailed. Now 4-5 there were 4-5 principal colours per outfit. Hats were small and fans and parasols were popular. Skirts are fitted to the ankle and walking is difficult. Looser waists and sashes and obis are also popular. The Persian influence can be seen and fashion is all about doing new things in old ways.

February 1914 – Straight skirts, more functions, more volume around hips; world war 1 is coming and women have to become more functional outside the home. They had to work for the war effort.

1917 – Women could vote if they were over35 and had a male family member in the military and if they were Caucasian. They also had to own property in their own right. This was a time of wrap around skirts, making the most of limited materials. The textile industry was focused on war. Skirts were shorter for increased activity. Dropped waist lines promoted a more youthful look. Everything was aimed at the young, especially on the young soldier and the woman as his counterpart.

1922 Woodwards Mail Order Catalog showed somber fashions.

1924 – The body continued to be invisible with the look being that of a little girl in older women’s clothing. The fashionable, urban was thin while the rural, farm women were not. Dresses were shapeless; one could see the legs but not the skin. Oversized necklaces only in the early part of the 20’s. Fashion at this time, became universal.

1925 - Skirts were shorter, closer to the body as the economy improved, clothing became more novel.

1928 - The Debutant emerged as did the slouch. the chest was caved in and posture was bad. Women took on a boyish look. Dresses were very short and tight with bias cut hems. Skirts were longer in back than in front. A hand beaded dress from Vancouver.

The Art Deco period reduced women to simple geometric forms.

1929 – The Stock Market Crash and the Fashion Industry was in trouble. This prompted the return of ‘the figure’. Skirts became longer and figures were slender with the help of a woven girdle across the stomach and backside to flatten both areas.

1933 – The housedress is popular (picture) and the waistline is at a natural level and sleeves are small and puffed. Woodwards Catalogue shows a housedress made of 100% cotton for $2.,85. People were working for $1 a day, if they had a job. Skirts were slightly A-line and travelling is a theme. Shoulders were now emphasized.

1939- Skirts to knees. Fonsie Photos very popular in Vancouver. If you have any street photos with the Fonsie stamp on the back, please consider copying and giving to the Vancouver Museum as they are collecting these for an exhibit.

Women were involved in war work and their clothing showed this adaptation. Shoulder pads gave an impression of physical strength. There was no wastefulness of material and colour is now the principal decoration. Rayon is very fashionable for dresses and jackets and both have shoulder pads. The profile is a T shape instead of an S.

1947 – Christian Dior, lots of material, longer skirts, indulgences. Tiny waist, pockets to carry things on trips abroad. Full skirts, big hats, getting away from the bad taste of war and into fun and frivolity. The girdle of the 50’s and 60’s was the living, rubber girdle.

1957 – Skirts were short, bouffant hairdo’s, 1958 – Barbie, girlish long legs, sack dresses, balloon skirts, experimental look. More geometric, back to the 20’s again.

1964 - Boxy style, revival of Chanel Suit, Twiggy – 5′6” and 106 pounds. Skin and bones, a hanger for clothes. Lots of bead work done by hand, silver mini dress, legs are the focal point, long, fitted boots and paper novelty dresses. More fashions from India, Africa and Ethnic traditions are seen everywhere. Clothing is natural and comfortable – mini to maxi, hot pants, wedge platform shoes, elephant pants, revival of Edwardian fashions.

The 1970’s were a response to Dr. Zhivago and women’s liberation movement. Shoulders were broader than any man’s.

This fashion show was a celebration of 100 years of Fashion as well as 100 years of the South Burnaby United Church. Proceeds went to support children’s activities in the community as well as abroad. Home baked cookies, cakes, brownies and squares showed as much artistry and history as the costumes.

This was a well advertised show, but the person who really helped me with tickets, directions, and student interviews, is Rachel Tuttle, the extremely efficient Public Relations and Communications Coordinator for this event. It is always a great beginning when you have your tickets, your passes, your interviews and your photography site all ready to go. When you are welcomed and taken care of like this, you know that everything else will fall into place and the stage is set for the spectacular! Thank you Rachel!

The Fashion Program Guide’s extraordinary photography was done at the Art Institute’s Renfrew Campus, by Eydis Einarsdottir – studio80s.com. Program design by Grey-E – grey-e.com and Illustration by Matej Balaz - lostinthejungledesign.com This guide “…is a celebration of the diversity…in fashion designers’ collections at The Art Institute of Vancouver. Graphics are black and white and photography is in brilliant colour. The guide follows the order of the show. First, is the continent of Africa and on its map is the following: “Don’t view trends as a list of things to copy, but draw your own fresh conclusions.” The graphic is a two page spread of African animals, masks, people and clothing.

Each designer presents three outfits and they appear in front of a large, white screen, together, and then individually on the runway. I will describe as many details as I can, but the guide and the photos show much more. The models were beautifully made-up and coordinated, often with gloves, and hats and all with terrific jewelry and shoes. I was particularly impressed with each designer who strode confidently out to be acknowledged for her or his meticulously designed collection.

The first designer, Nicole Lordes created a bronze laced up strapless top, with a long satin skirt and a fur lined cape. Another dress featured peacock feathers that were attached to the back of a bronze fitted dress, with a lace-up and hook and eye closure front. She looked like she was surrounded by a sun of brilliant coloured feathers. Where would you see a dress like this? On the red carpet, at a gala ball, or anywhere you want to make a statement.

Lacey Yorston’s program guide shows a model in a cream coloured lace brocade, short sleeved, scoop necked dress, with fitted waist and slightly belled skirt over two layers of navy and cream, delicate, light ruffles. Puffed sleeves, short skirts and patterned stockings were standouts.

Gabrielle De Barry displayed pink – pink feathered headband, pink shoes and pink ruffled, sleeveless, scoop necked top over high waisted, form fitting trousers, slightly belled from knee to hem. Loved the green, pink and bright yellow colours in her collection.

Kimberley Der, a wonderfully enthusiastic interviewee, said that among her fashion influences are Balenciaga and Marc Jacobs. Originally from the University of Alberta, she was enrolled in the Fine Arts Program where she studied Print Making and Industrial Design. She then took a year off to work at Holt Renfrew. She also holds an Interior Design Diploma from NATE in Edmonton. Travel is also one of her inspirations and she backpacked for three months throughout Asia. She is of Chinese descent; her mom is from Hong Kong and her father, an abstract artist was born in Edmonton. She is influenced by architecture, especially by Frank Lloyd Wright and Frank Ghery. The demolishing of urban areas draws her attention to the colours and materials used in construction – rebar, concrete and mesh. She plans to start a business designing handbags but after seeing her collection of purple harem pants, short one strap dresses, silver halter topped, flared skirted, silver lined dresses and lots of ruffles, I predict that we will see more of her on the runway or how about at Holt Renfrew, Vancouver!

(All photos courtesy of Siggy Dawson)

May Guan’s fabulous black pearl dotted dress with one black and white feathered strap, was classic yet unique. Another outfit featured a feathered skirt and a black feathered head piece. Everything was form fitting and graceful.

Stephanie Jones sported muted colour combinations, subtle yet eye-catching. Hooded tops and long t-shirts with gorgeous pictures, headbands and sleeveless short dresses were casual yet sleek.

Trisha Pasnak showed three long dresses in orange, fuchsia and bright green. The fuchsia was a sleeveless, satiny gown of nipped in waist and layers with a tulle layer at the hem. It made the model look so tall and slim and elegant! The green and fuchsia dress was like a sari, also very slimming and delicate. Wear these on the red carpet too!

Travis Wozniczka’s models were bare foot, which to me, indicated the high comfort level of her clothing. She featured a red silk lined cape and form fitting purples and pinks with materials cut in layers of deepening colours from waist to hem.

Krista Brown’s brown, backless, feathered top and matching pleated skirt were in keeping with the Africa theme and very different. A zippered black skirt with bra top and a bright orange cape of feathers showed her exquisite design and tailoring skills.

The music for the show was provided by Ali Roshanravan and Dax G and they chose fantastic selections that not only were in keeping with the Global theme but also were specific to each section. For example, the music for Africa was drumming and bird sounds and vocals.

Section 2 of the show was Asia and on its map was the following message: “When cultures receive outside influences, they ignore some and adopt others, and then almost immediately start to transform them.” The graphics include a dragon, fish, flowers, feathers, fans and temples, all in black and white and all captivating.

Daniela Agosta’s program guide photo is a costume of cards, including a card hat, a scepter, and a dress with a high collar, belled sleeves, bustier with a card cover and a layered skirt with hearts and stripes and tulle edging under the hem. It is short and cute is the image of what the young, fashion conscious crowd wears in Japan. (Almost Harajuku)

Kamila Gougain Poblete should be the airline uniform designer for the world’s airlines!. All of her outfits came with matching hats and great button detail down the front of the dress. Very sleek and beautifully designed; one even came with a designer life-jacket!

Jaida Hay’s back fitted sleeved t and pants and hat, fitted black cocktail dress with slim jacket with blue cuffs were simple but classic.

Kiki He designed lingerie and lounge wear in pinks, purples and mauves. Harem pants, short pants, silky short jackets and feathered mules set the scene for night.

Courtney Jewell’s satin looks featured a white short dress with a satin neckline and satin stripe down the back with a short lacy skirt. A second satin dress under a longer lacy jacket would be great at a wedding or summer afternoon party.

Erin Leatherby’s elegant program guide photo shows off her silver topped dress with teal long skirt and teal off the shoulder sash. Another green and silver dress was like a sari. This collection contained vibrant colours and forms very much like what you would see at the Punjabi Market in Vancouver.

Shannon Weflen combines multi- colours and solids to stunning effect. Dropped waist purple and blue pants, ruffled multi-coloured skirts, and feathered hats were both fun and fantastic. Her profile picture shows her strapless raspberry top and ruffled raspberry, blue and gold layered short skirt with a long fan tail in the back. Full of movement and swing, it makes you want to dance.

Yvonne Xie’s program guide photo is a pink and blue plaid cap sleeved dress with a high ruffled collar and puffed hem. Makes a statement with its bold colours and lines and makes her look very, very tall.

Lulu Yin’s white satin, strapless, long dress with elegant sequined empire waist design and matching over one shoulder red silky drape, is stunning and perfect for the Queen or the Red Carpet. A white cape was gorgeous, too. A plaid, short puff sleeved dress added an great informal look as well.

Europe’s map contained this message: “Greater collaboration between Art and Fashion means that the line between the two is blurring.” The graphic designs include the Eiffel Tower, The Parthanon, the Greek Key design and much more.

Monica Berg’s program guide picture shows off her green satin, short puffed sleeve dress with
patterned belt and front panel on the black skirt. A high necked tunic, button front black top and pants were collectables for sure. Look at the detail around the hem, here.

Shea Hanrahan brought men’s fashion to the stage with his red silk lined, hooded black knee length cape. Loved the side buttoned front. He also styled a hooded vest with 3 buttons, and used greys and blues in his collection. I liked the silver chain with a key detail hanging below the cape and the ax.

Renuca Kumar’s models wore pearls which effectively set off her designs. The bronze dress and silver shoes went well together. Her designs are sleek with intricate details like the narrow pleats at the hem of her bronze dress. A blue 3 button high necked jacket and silver top and close fitting, brown pants were elegant, too. A light coloured tweed coat had a colourful,jewel of a big button at the top.

Angela Kelly’s high necked grey short cape and grey buttons was a classic, especially shown with grey slim pants and boots and a grey wristlet. A purple hat and purple vest were fabulous accessories with black pants.

Savannah Qiu designed a white chiffon like blouse with a huge ruffled collar and wide sleeves that looked great with a grey blue romper. She also showed a cute ruffled hat and a plaid dress with white ruffled petticoats and a velvet jacket and hat.

Kirsten Pederson designed a long tuxedo coat with gold buttons and purple lining. The cutout pleats around the the bottom of the coat further displayed the lining and gave the coat lightness and movement. Her photo in the program guide shows a rust coloured, pleated high collar under a black longer fitted jacket with the cutout purple pleats and a knee length black skirt. Beautiful colours and fabulous styling!

Reva Schmid was accompanied by the Pink Panther theme music. A military 12 buttoned great coat with a white satin lining was superb. Its divided panels arfully displayed the lining and once again provided a sense of lightness and movement. Three or four buttons were on the cuffs. The silver buttons also featured different designs. A black leather, long coat with green lining would be terrific for winter in Vancouver. A purple fitted black and purple top and mermaid bottomed skirt might be the surprise under either coat!

Jana Sophia featured a cream coloured, ruffled dress with a sparkly gold belt. Very Hollywood, this one must have taken hours to make all of those ruffles. Another Red Carpet or big stage dress, for sure.

Kenda Ward’s look is a combination of Romantic and Pirate. Costume designs or designs to feel fabulous in… Blouses were long sleeved with ruffled cuffs and vests laced up in front. Pants were cropped. A navy velvet short jacket with a long skirt made me want to stand at the prow of the ship, ready to set sail.

The third section, North America, contained this banner: “Globalization has changed us into a company that searches the world, not just to sell or to source, but to find intellectual capital, the world’s best talents and greatest ideas.” (Aren’t many of them already here, in this show?)
The graphics for this include: The Statue of Liberty, the stars, First Nations designs, totems, salmon, towers, and, of course, much more.

Holly Kvill’s program guide photo is of a royal blue short, strapless dress with 3 layers of gold
lined, blue panels. It’s a very different take on ruffles and very elegant. Greens, golds and purples were regal colours, fitting for the outfits she designed.

Kandis Peddle’s white fitted, long, strapless dress had a gorgeous train of lace. Two other white dresses featured a white fitted lace top and a white fitted long lace capelet over the shoulders. Weddings, formals, Red Carpets, coming up.

Emily Molenda’s royal blue formal with a bow at the waist and a lace up back and tulle under skirt was flirty and flattering.

Sherry Perrault’s look was a combination of pirate and school girl. Very young and fresh, too. Red and black plaids, red berets, fitted skirts with lace edging and high black boots completed the picture.

Kaitlyn Stewart also showed black and white and blue, white and beige plaids in a casual, sporty look.

Dorothy Suen’s white satin two piece jacket and pants suit and little white hat are profiled in her program guide photo. Her white wedding dress was gorgeous with its short veil.

Ivanka Tanafranca’s guide photo is of a black, fitted short dress with a belted black sleeveless jacket with white piping down the front. White, black and red were in her collection.

Renee Thiem’s program guide picture is of a turquoise sleeveless dress, softly pleated to the knee. Classic Audrey Hepburn.

Veronica Trost designed a black short v-necked dress, halter style and a black jump suit with a tie in the back and softly draped pants. A short very fitted black dress with cap sleeves was just what you want but can never find. Silver bracelets and feathered earrings accessoried the looks.

The fourth and final section was South America and on its map were these words: “Don’t ask yourself what the world needs; ask yourself what make you come alive. and then go and do that. Because what the world needs is people who have come alive.” With all the energy and action in this show, we certainly saw evidence of accomplished lives and wonderful futures. The graphics were of butterflies, snakes, masks, religious figures, trees, mountains, mesas and more.

Elizabeth Adams’ models were masked. Her dresses featured lace up backs. A red and black dress was form fitting, long and had pleats along the bottom. A black leather dress was lined in red. Very dramatic!

Rachel Bernardo gave a great interview, in fact all three designers did, considering that they had just finished one show and were doing another almost immediately. They obviously love what they do and are very enthusiastic about the training and experience they have gained from The Art Institute of Vancouver. Rachel hails from the University of Winnipeg where she was originally in Communications. She is now fascinated with design and the creative aspect of it. She plans to continue in Journalism, eventually and feels she has a good perspective on a broad range of career options. She was interested in fashion from a young age and it helps that her mom is a dressmaker. Her parents are from the Philippines, a country known for beautiful design. Rachel’s influences are Dior and couture and she like to wear Alexander Wang, Phillip Lim and young, new designers. She says that computers are an integral part of fashion, especially for one’s own productions. She is working at Holt Renfrew, in the Jewelry Department, right now.

One of Rachel’s outfits was a short white ruffled skirt, with a slim belt and a multi-coloured fitted, sleeveless top. Another was a one piece romper with sleeves in pink Very lively and summery.

Shannon Clay originally wanted to be a grade one teacher. Coming from a small town, she says it is unique to go into fashion. Most people go into more traditional fields. She’s from the University of Lethbridge, Alberta. She’s here, of course to study fashion and design, but also because she’s only a one hour plane ride away from her family. She is a Figure Skating Coach who would like to make costumes. (Skaters will appreciate her fabulous designs.) She likes simple with an element of pizazz. Two of her influences are: her grandma, who made all of Shannon’s skating costumes, and Lanvin. She looks to nature for the simplest and smallest flower that is so intricate, like a work of art. She see movement in the stamens of lilies and how they fold into each other. She is courageous because she entered this program with little sewing experience. Imagine! She is truly a global Canadian, having Chinese, Scottish and Norwegian in her background.

Loved the ruffled, pink(Cherry) dress – very short but lively and eye-catching. A yellow balloon skirt and a green, flounced, short dress with a large flower decoration demonstrated Shannon’s love of colour and movement in her designs.

Marley Davis also had a very dramatic collection. A black jacket over a white, standing ruffled top was fantastic. The belled sleeves were edged in pink satin and the jacket featured a lace up front. Loved the slim pants and high black boots and long, black gloves.

Ashley Dilworth designed lingerie in purple, gold and turquoise. Negligees were long and silky with tiny panties underneath. Also noticed the white pants, slightly belled with a multicoloured top.

Danielle Keeping’s lingerie was beige lace with laceup fitted tops and garter belts and lacy stockings and panties. Ribbed and fitted corset tops in turquoise were exquisite.

Lisa Leonard’s collection featured lingerie: a purple bra top over purple panties, a black lace kimono sleeved jacket and a purple and black bra top with a purple train. Intricate beading and complex lace designs make this an admirable line.

Jinny No showed great variety of form, material and colour in her designs. A yellow strapless, empire waisted dress had two layers and a varying length hem which swirled as the model came down the runway. A velvet fur collared short coat was adorable. A White satin lined coat was also very attractive.

Brooke Spagrud used red, black and white in her outfits. Black and white pants were under a long tuxedo coat. A black and white dress had red back ties. A long black and white fitted dress featured a black lace top, over white, layered with a lace apron, and black and white tiers of small pleats – 4 in all. The longer you looked at it, the more details became apparent. This is definitely a dance floor item.

A music video “When the Circus Came to Town”, highlighted the performance aspect and the idea of travel around the world. The fantastic and the fabulous were all at The Global Gallery, a show well worth seeing from The Art Institute of Vancouver. It is commendable that ” a portion of the general public sales revenue will go towards supporting Tradeworks Training Society which helps provide job related skills, counselling and work opportunities to at risk youth and adults living in the downtown eastside.”

Suzuki Takayuki graduated from the Tokyo Zokei University with a degree in Graphic Design. He established his own label in 2002 and has been presenting collections at Japan Fashion Week since 2007/2008 A/W. He opened his own shop in the Shibuya PARCO in September 2009 and has since established two other lines, “Ikkuna/suzukitakayuki” and “toha.”

After arriving at the Art Complex I descended a dark, winding staircase to access Takakyuki’s collection in the basement of the Art Complex. I arrived quite early for the first show and had the opportunity to take photos along with other members of the press before the first show began. You had to walk through a curtain to get to his collection which was presented in a room completely draped in white fabric. There was also a stunning mural that covered the entire back wall. The mural consisted of images taken of a dancer in different poses in his clothing. His intention of the mural? To show the movement of clothes, accomplished!

The color scheme of the collection revolved entirely around black and white. The layering of the garments was phenomenal. Exhibitions are great because you are able to see the clothes up close and examine the craftsmanship. The installation, entitled “A Moment,” focused on light, sound, movement and the passing of time. The materials consisted primarily of knit cottons and silks. Key looks included black fitted blazers paired with short skirts of multiple layers as well as full skirts, high collars, and cinched waists. One would think that all these layers would make the garments look bulky but they did not. The draping was also fantastic. Each look was more unique and eye catching than the next, however they were a little heavy for Spring. Perhaps they could be worn as separates. Please visit his website here.

Through the mannequins.

A closer look at the mural.

From afar.

Shida Tatsuya

I am really fond of Shida’s work. Last year he presented a collection at the Shinmai Creator’s Project. He is from Shizuoka and he even has a store in my home town city of Numazu! This year he was inspired by ’80s looks and fabrics. He loves dying materials and changing them into his own eclectic creations. His pieces were more subtle this year, geared toward everyday where but just as intricately crafted. Keep your eye out for Shida Tatsuya in the future!

Shida with one of his favorite pieces.

Designer Akiyama started his career working with Issey Miyake in 1979 before establishing his own company, A. WORK STUDIO in 1996. He signed a contract with Sanyo Shokai in 1999 and was chief designer of TAOC. He started his own label, FUMIO in May 2003 and also showed his first collection at Japan Fashion Week. He has been presenting his work at ATMOSPHERE Paris since October 2006. You can visit his website here.

Akiyama cuts and alters fabrics to make unique pieces that are not seen anywhere else in Japan. The material selection and production all take place in Japan. He is incredibly skilled at using materials to mimic others, for instance, there was one beautiful top that was made of polyester but felt like silk! Akiyama usually shows his collection bi-annually in Paris.

Akiyama is known for his
unique three dimensional cuts.

I have never seen any shoes like these before! They are handmade…rightdown to the shoe laces. The theme for this season was taking out the unnecessary parts of shoes. For every different pair of shoes I saw, there was a different design. The looks are originally created perfectly and then altered by distressing afterward.

The designer, Machiko Yoshizoe, was incredibly helpful and eager to talk about the brand. The label’s original inception was geared towards men’s shoes, but since last November they have been designing for women too. She also introduced us to her booth neighbor, Cover.

The Numb Plural Booth.

This label is particularly inspired by Okinawa. The designer, Issei Higa, created the looks using Yukari material. The clothes were immaculately designed and great for casual day wear. Visit the website here.

The designers from Numb Plural
and Numb Shoes together!

More shoes! There were some definite eye-catchers here! There were casual as well as more elegant evening looks. These shoes are produced in Japan and sold at select department stores.

Fabulous boots of course!

Cutting the stone.

Hideaki Sakaguchi graduated with a degree in interior design from Hosei University. He worked at Designers’ Maison before starting JELLY GARCIA in 2002 which he renamed as The Dress and Co. HIDEAKI SAKAGUCHI from ‘09-’10 A/W. Last year he presented his collection at RENDEZ-VOUS, Paris and he has now started to receive orders from stores worldwide! Visit his website here for more information.

I was excited to see what Sakaguchi would do this year! You can see my write up about his collection from last season here. There was a variety of pieces that were very appealing. There were ruffles, jean vests, great blazers and layers upon layers. There were also some great kaki and cord blazers and suits that would work well for office wear in the spring. The make-up was simple and the hair was parted and pulled back. As you can see from the images below, each piece is immaculately designed with incredible attention to detail.

Layers, layers, layers!
Always popular in Japan.

The models walked along a tile
runway.

This look flowed elegantly
down the runway.

Aguri Sagimori

Aguri Sagimori graduated from Vantan Design Institute in 2007. She has won numerous awards including the New Designer Fashion Grand Prix (2007) and the Nagoya Fashion Grand Prix Contest (2007). She showed her first collection at Tokyo Collection Week in March 2008.

After doing some shopping and having a fantastic Indian dinner, we rushed to line up for the Aguri Sagimori show. The line up was very long but we managed to get in and get a good seat about three rows back. You could sense the excitement and anticipation in the audience for this show. Finally, after getting everyone seated, the show began.

The models flew down the runway wearing rhinestones, studs, chains and silver make-up. There were some great trench coats, harem pants and shorts. The sheer fabric and black lace hard edged trends were continued here. One of the designs that stood out the most for this collection was the vests. They barely covered the back. They came just around the point of the shoulder blades. She designed them in a variety of colors and I wanted to wear every one of them!

An amazing purse.

Cool silver vest.

Love this body suit.

G.V.G.V.

MUG graduated from the Kuwasawa Design School and launched G.V.G.V. in 1999. She has presented collections at the Designers Invitation Project held by Uniqlo (2007) and the Designers Invitation for UT (2008). For more information visit here website here.

Last year Treasure Seeker Colleen attended and reviewed this show. You can see the post here. Having missed the show last season, I was eager to see what this season had in store! The show was set in the largest venue Hall at Tokyo Midtown. There were disco balls, flashing spotlights and what looked like glitter everywhere! It was difficult to see in the dark, but it looked like there were upwards of sixty photographers taking pictures.

Again, there were studs, rhinestones and everything was bedazzled. Many of the pieces were white and featured studs. Harem pants, cropped tops, skirts and tasseled pants were styled with high platform peep toe studded boots. The majority of the looks were white however, there were a few blues and blacks thrown into the mix. The clothes would be great for a night out or a fabulous event. The production of the whole show was quite impressive and left us wanting to watch it again!

(Image by Clothes Line Finds)

(Images via JFW)

Li-Fen Anny Chang, Assistant Professor of Fashion Design, created this three-piece ensemble for a women’s career wear competition sponsored by the Queen Sirikit Institute of Sericulture (QSIS) of Thailand. “Color Me Successful” was juried as one of the top 10 designs; the initial jury was a panel from International Textile and Apparel Association (ITAA). The top 10 designs will be exhibited at the Queen Sirikit Peacock Standards of Thai Silk exhibition and ASEAN conference on August 6th to 9th in Bangkok. “Color Me Successful” also receives an “Honorable Mention” recognition from Her Majesty Queen Sirikit of Thailand. The trophy will be presented to Anny in the ITAA’s annual conference in Seattle, October 2009.
The handmade yellow and blue reversible Thai silk with the motif of flowers and stripes was the inspiration, particularly the exotic colors of the yellow side of the fabric. The design details were intended to make wearers seem competent and reliable, yet stylish. The ensemble could be worn with or without the jacket depending on the weather, personal preference, or to suit professional needs. (model: Nikki Trizza, photographer: Job Ruzvidzo)
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source: en.wikipedia.org

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