Tuesday, October 8, 2013

Creatures of the Wind Fall 2013

What initially drew my attention to the Creatures of the Wind Fall 2013 collection was the crimson red walls and spotlights lending a rainbow spectrum to the carpet. That seems pretty stupid considering I should be more enthused about the ~clothes~ and how ~pretty~ everything is, but the whole thing reminded me of Agent Cooper's lucid dreams in Twin Peaks and the Autumn tones makes me think of The Royal Tenenbaums too. That sense of nostalgia eased me into the visual experience of the clothes themselves, which I found scintillating and perfect because Creatures of the Wind is totally perfect. I was engrossed in the colours of their Spring 2012 collection, and there's still that delicious confusion and eclecticism uniting everything together but for Fall the tones are more muted, restrained and clean. Tavi Gevinson mentioned a previous Creatures of the Wind collection as having the perfect balance of feminine and masculine tones, and that becomes conspicuous with the addition of tacky, decorated, beige ties. 

The ties in themselves are worth mentioning- like long lost brethren to ties from your father's collection, but improved upon with the use of embellished, glamorous Swarovski crystals arranged into flowers. The ties are everywhere in this collection but subtle enough to, lurk in the background like a 1940s gangster and omnipresent in a sea of long hair and skinny stiletto heels. I'm more accustomed to more striking masculine tones borrowed from modern boyfriend-style of wide legged pants, big jaunty shoulders in a Comme Des Garcons kind of way and thickened eyebrows in eyeliner; rather than this incorporation and blending of both spheres of gender. I quite like this understated, quiet use of ties which makes the statement zippers zippers at the front of the dresses somehow normal in a way. I suppose I just never really got into using zippers as some great statement in clothing especially at the front because that just seems so harsh and open.

The tone of the collection also seems nostalgic of sitting in a 1960s decorated lounge room, but it's missing the musty stained carpet, frozen TV dinner tray table and wooden paneled television set. And viewing the whole collection seems like a synaesthetic experience when listening to Frank Ocean's 'Forest Gump' from his Channel Orange record. Everything seems related to tones of red and orange, staying at an elderly person's house and The Greater Chain of Being. I think that's something every designer should now aspire to because old people are great and should be treasured like long lost ties to the past. This has nothing to do with my exploitation of my boyfriend's family or getting to hang out with his grandma with the promise of eventually learning how to knit, crochet and borrow a sewing machine- all while drinking very milky cups of tea and eating bags of ugly reject biscuits. It's totally great, but somehow I just need to remember music in my head rather than playing Frank Ocean on my phone (which would seem rude and totally annoying).

I also got serious Twin Peaks vibes from the amount of plaid, long coats and high heels; more precisely referencing the clothes of the townsfolk working at the small town gas station combined with Audrey's daily ritual of changing from saddle shoes to red kitten heels at her school locker. The truth is that many modern-day small towns lack this glamour but still have plenty of flannelet shirts abound, but it's nice to daydream and romanticise remote areas like Peter Weir's 'Picnic at Hanging Rock', Enid's ability to find God in tacky things like a bad comedian and 1950s inspired diner and The Virgin Suicides. The silhouettes also seem to echo the clean lines and practical American style cited by former American Vogue editor Grace Mirabella as instrumental in Western fashion and culture. I find it difficult to encounter clothes that are both straightforward in design but have the aesthetic of 'Lucy in the Sky with Diamonds' in my everyday life, but browsing Style.com in my room does make me hopeful that there is a whole other world out there for me.

Tavi also mentioned a previous Creatures of the Wind collection as being untraceable in origins, and I think that statement can be generalised to the entire universe that the designers have created. She was speaking specifically about their Spring 2013 collection with its thrift store origins and French lace from a couturier, but I get lost in the mix of strange front zippers, collars and blazers in the same multidimensional sense. It's nostalgic and yet new all at once, which again makes me feel super connected to the universe and able to understand complicated concepts like time travel and other groovy things. Speaking of time warps, the sunglasses are a commercial first for the brand and seem somehow early 2000s/ Avant Garde in origins (disappointingly not as majestic or sparkly as the famed Creatures of the Wind headpiece featured as the background to their website) but that strange lens shape and colour seems joyously disconnected from the clothes themselves. 

Creatures of the Wind have delivered another technicolour dream experience with an eagle eye when it comes to detail. Despite the magical interplay of reds, orange, beige and black the collection does seem more mature and restrained; less Gene Wilder as Willy Wonka but more strange citizen, Log Lady from Twin Peaks and that general setting of a seedy, backwater town as a point of origin. Without getting to touch and play with the clothes in person I can only make so many assumptions about the textures, but I can reveal I really want to buy Dollar Store gemstones and decorate many plaid ties. If you take anything else away from my review, Creatures of the Wind seems to be inching towards more of the commercial world and getting their foot in the door as a serious contender for fashion houses but each piece is made by hand with love in a tangled spiderweb of old stories, past and present.

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