Tag: Faustine Steinmetz

The BFC showspace was packed on day 4 of fashion week, expectantly waiting for Faustine Steinmetz’s girl army to take to the catwalk. Formerly eschewing shows for presentations to avoid sensationalising the fashion industry, the designer decided to make her catwalk debut back in September and learnt that she could put just as much of her own spin on it as she could with specially-designed sets, showing off her reworkings of classic styles in all their glory. And we couldn’t wait to see how the AW18 Steinmetz woman would be painted on the blank canvas of this season’s catwalk.

Set to the sounds of some of our favourite 90s R&B ladies, the collection was, as ever, a delight to the well-organised mind. Steinmetz’s staple pieces returned with fresh updates, allowing the wearer to concentrate less on what to wear and more on which piece would perfectly reflect her personality and individual style.

A veritable uniform of trench coats, shirts, jeans and slip dresses came down the runway, each nodding to the others with coordinating details and textures, but at the same time retaining its own unique DNA.

Pale green silks and woody browns wovens join the designer’s signature denim; which this season has become deeper and darker than SS18, with knitted and felted additions to both tops and jeans providing texture.

Things are definitely matchy-matchy this season, with layers of sultry silks in different finishes, cosy cream knitwear and denims of slightly different grains and colours building on top of themselves on each model into entire outfits.

Accessories, too, are not exempt from the Steinmetz treatment; Fendi-esque baguettes become beaded and covered in Swarovski crystals, adding a little glamour to casual silhouettes, and the ultimate in Parisian chic, the Hermès horse-print scarf, appeared as slinky below-the-knee skirts and slouchy handkerchief tops.

It’s impressive and, ultimately, completely baffling that Steinmetz approaches each season with the same blueprint, and yet the collections that are revealed are so unique and instantly covetable. They’re at once pieces that you could expect to find in your own wardrobe at home, but also totally fresh and exciting, speaking of a season to come where you can be both up-to-the-minute on-trend and comfortable.

As the models did their final walk and we saw the collection as a whole, it was almost like creating an outfit using that computer wardrobe from Clueless that we all long for – if you loved a top but weren’t sure if the jeans with it would suit, the outfit following along behind it would surely offer you another option that would coordinate just as well. It’s a vision for the future of fashion which inspires and delights – quite frankly, I would wear the Steinmetz uniform any day of the week.

Words: Katharine Bennett | Fashion Week Press | @misskatebennett

Images: Joshua Atkins | Fashion Week Photographer | @joshuaatkins

 

Faustine Steinmetz presented her Autumn Winter 2017 collection at the Topshop Showspace. This year, the showspace was held at the Tate Modern, which was the perfect place to hold Steinmetz aesthetically clean and modern collection. Steinmetz collections are now known to be both fashion showcase and art installation, with intricate structures and set pieces. This season models, both male and female, stood in white boxes in which the audience could walk between.

 

 

 

 

 

 

 

 

 

 

 

The collection centered around a universal wardrobe staple: denim. Focusing on how the material is modified and utilised across the globe, with changes between how cultures and climates affect the use of the fabric. The collection produced a mixture of looks that were equal parts DIY and high fashion. With denim sourced from 30 different countries, Steinmetz took inspiration from how the denim was treated and worn in its country of origin.

Using a limited colour palette of blues and denim washes, paired with whites and blacks, the collection played on recycling and up-cycling materials. Pieces had large recycled labels and Faustine Steinmetz sprawled across jumpers. Crisp, white roll necks were contrasted against dark denim and looks were completed with bleached wash denim boots.

 

 

 

 

 

 

 

 

 

 

 

Denim was folded into ruffles and torn into cutouts, with a standout pieces being the Colombian inspired diamante embroidered co-ord, a large baby blue puffer coat and an oversized, striped two piece. The US was an obviously strong influence, being the birthplace of denim, with western style flares and heavily used denim. Menswear was seen in bleached double denim and utility belts tied over jumpsuits.

 

 

 

 

 

 

 

 

 

 

 

Words: Andre Bogues | Fashion Week Press | @andredevb

Images:    Jessamine Cera | Fashion Week Photographer | @jessamineceraphoto

 

 

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She was topless and painted a glossy black. I thought I was staring at a mannequin, until I noticed her breathing. Nestled in Old Spitalfields Market at the Topshop Show Space, the Faustine Steinmetz presentation was like a cave of wonders.

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The model was wearing jeans, if we could even call them that. They were encrusted with Swarovski crystal rock formations, turning her into an enormous geode. The stiffness must have made them incredibly uncomfortable to wear or move around in, but when has fashion ever been comfortable? The denim on display was clearly in a league of its own and Collection 008 was all about the denim.

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Gone are the days of Ed Hardy, gaudy logos, and bling being the height of ‘cool.’ I’m not sure if they ever were cool to begin with, but Faustine Steinmetz turned this concept on its head to make denim decadent. The designer plucked us from our safe sartorial options and plunged us into something that, although unknown, was far more alluring. Rather than diamanté lettering, we were given Swarovski. Say no more.

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With the help of creative collaborator Georgia Pendlebury and set designer Thomas Petherick, dioramas emanated blue light from where the models were lying. They resembled helpless modern-day mermaids who were confined to their boxes without their tails, soaked in pools of blue. Even some of their faces were awash with the hue, which carved out their icy, chiseled cheekbones.

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Calvin Klein better watch out, because soon Faustine Steinmetz will be the name that everyone wants jutting out of their jeans or emblazoned across their clothes. For those of you who are a fan of double denim (I personally see nothing wrong with it), or the Canadian Tuxedo as it has come to be known, it looks like Faustine Steinmetz has just given you the green light to layer until your heart’s content.

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Words: Laura Rutkowski | Fashion Week Press | @Laura_Rutkowski

Images: Phoebe Fox | Fashion Week Photographer | @_phox_

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Parisian designer Faustine Steinmetz stayed true to her philosophy of craftsmanship before trend and delivered her Autumn Winter 2016 collection in the Tate Britain. The presentation was accompanied by a website that featured an audible guide to the space, making its location in the Tate even more fitting. The presentation was filled with white cubes with narrow slits in them for audience members to view the collection; they were just about large enough for a camera lens. Peering into each cube resulted into viewing a room with the walls and carpet matching the colours of the garments the models were wearing, making for an extremely aesthetically satisfying image. The interior of the white cubes was colour blocked in the fashion of one of Steinmetz’s inspirations German artist Franz Erhard Walther whose use of minimalistic colour and positioning in his installations.

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Inside set designers Thomas Petherick’s white cubes, models walked around the rooms draped in hand-crafted designs. A colour palette of white, sea blue, nude tones, rust and pastel yellows was used effectively to create modernity within the garments. Pieces were heavily textured with metallic sashes, foiled neoprene and hand crafted yarns. The yarns were twisted and embroidered from American cotton into almost sculptural waves and patterns. Structured pieces were balanced and wearable by being paired with plain denim and clean lines contrasting against the soft waves of the yarn. Mohair was hand dyed and hand woven into overcoats on the top of off the shoulder dresses with tie details.

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Foiled neoprene was used in bags which lacked shape but had rivets so they could be attached to the body through a belt and, shoes were long and boxy, also in foiled neoprene. Make-up was soft and dewy whilst hair was long, messy or crimped.

Words: Andre Bogues | Fashion Week Press | @andredevb

Images: Zac Mahrouche | Fashion Week Photographer | @zacmahrouche

 

The Faustine Steinmetz SS16 presentation at the Institute of Contemporary Arts was quite something to behold.

Upon entering the show space, we are met with a circular white concrete wall, and what we see when we step inside surprises us.  The walls are bare but punctured - punctured, that is, by the models themselves. One model's torso hangs over, her legs hidden, whilst another sits on the floor with her arm disappearing into an abyss on the other side. It's like this all around, sometimes with just a hand visible, or  legs, whilst some models stand with a single limb captured by the white concrete.

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The presentation is arranged into six sections, each taking up a different space ; Polos, Denim Jackets, Non Leather Goods, Jeans, Tracksuits, and Flowers. In the first, monochrome knitwear with varying stripes is dishevelled. In one look, loose yarn hangs and is gathered into a ball, adding another dimension to the ensemble whilst another dress features a knit that thins, revealing flesh underneath before becoming opaque again. It's an inspired take on knitwear and plays with both proportion and depth.

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Steinmetz's approach has always been to create handcrafted and handwoven garments, but this collection contains some industrially made pieces as well. However, they still retain that raw, handmade quality; an example would be the pieces from sustainable denim, pleated, shredded and even adorned with floral embellishments to give varying and wonderful effects. There's so much at play here (and it really is playful where processes are concerned) it's hard to keep track.

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Jersey tracksuits also make an appearance with ultra fine pressed pleating and a hanging waterfall of threads that keeps consistency running throughout the collection, but she doesn't stop at clothes. The Parisian born designer has also forayed into accessories and thanks to an inability to find good quality vegan leather bags (there's a huge emphasis on eco friendly production methods), created her 'Non Leather Goods' made of coated white denim.

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Although denim does feature heavily, each section is as successful as the last, and there are no real strengths here, by which we mean everything is just so great that we can't make up our mind.

Words: Alice Hudson | Fashion Week Press | @aliceehudson

Images: Celine Castillon | Fashion Week Photographer | @cceline