by Nivara Xaykao

As the dust settles on the Fall/Winter 2012 season, my colleagues and I at Stylesight are beginning to decipher the footpath of trends along the runway. In the area of intimates, inspiration materialized in subtle ways, from an intricate body map of seams to a plunging square neckline. Overall, collections were governed by dueling ideas of resplendence and restraint; and perhaps no two labels illustrated these incongruous approaches more than Milan-based Jil Sander and Dolce & Gabbana.

Dolce & Gabbana are the traditionalists, epitomizing much of what has come to define ”Made in Italy”: opulence, sophisticated sensuality, Old-World craftsmanship and a design brashness that often runs in one direction and on one speed (fast). This season, they revved up the luxury, decorating their signature bodysuits, sinuous sheaths and even socks with elaborate needlework and gilded appliqués. The Baroque interiors-inspired pieces made an uncompromising statement for decadence in light of the past few seasons of minimalism. The clothes were undeniably beautiful, their lacy, florid extravagance tapping into a woman’s most fantastical inner desires.  However, underneath the ornate displays were highly supportive, flattering garments that elegantly cling to and accentuate a woman’s every curve.

While Dolce & Gabbana may be the sartorial equivalent to Luchino Visconti’s lush costume epic The Leopard, Raf Simons’ final collection for Jil Sander was more Alain Resnais’ surreal study Last Year in Marienbad, from its mid-century-inspired frocks to the somber, hypnotic runway procession. While his last few seasons were influenced by mannish proportions and sportif graphics, Simons took an understated, unabashedly feminine turn for Fall. A poetic vision of sweet pastels, engineered body-hugging panels and buoyant fabrics, the designer’s swan song was unlike any other collection this season, reportedly moving many in the audience to tears. While its exterior of couture polish made for a pretty picture, a closer examination of the collection revealed intentional cracks in the surface – a PVC-lined rip in a dress here, an extra mass of fabric there. For Simons, it was about a day in the life of a relationship in all its joyous, depressing and unexpected turns. It was also a sublime expression of womanhood, the tender moments and imperfections making the clothes all the more beautiful and special.

So in the battle between resplendence and restraint, perfection and fragility, who wins? While I think the Jil Sander collection is one of the most exquisite in recent memory, I don’t believe either is more or less effective in exploring and capturing the feminine spirit. The popular belief is that lingerie falls into one of two categories: what you would wear for yourself on an everyday basis and what you would wear for your boyfriend/romantic partner. In the case of both collections, they managed to strike just that right balance of aesthetic forwardness, function and fancy while retaining a modicum of modesty (and mystery) that is surprisingly sexy in its sincerity. They lovingly and reverently display the female form, celebrating the strengths and vulnerabilities that make us who we are. And as disparate as their approaches are, both labels exhibit a creative boldness that should set the stage for an interesting and unique design season.

by Nivara Xaykao

Being from Texas, Mexican culture has always been a natural part of my visual vocabulary – one that I did not fully appreciate, much less notice, until I relocated to the urban environs of New York City (where one of the better, cheaper places to get enchiladas is Trader Joe’s). Now, Latin influences in general seem to be all around, notably on the biggest stage of all: the runway.

Naturally, Miuccia Prada kicked things off with her exuberant S/S 2011 collection peppered with banana prints, embroidered monkeys and striped sombreros. In recent seasons for Givenchy, the king of cool Riccardo Tisci has unveiled an edgier side to the inspiration, pairing tropical prints with images of the Virgin Mary and body jewelry with ornate mantilla laces. From the onset, there was something about the extravagant imagery that resonated deep within me, triggering memories of colorful quinceañeras, kitschy folk art shops in Austin and zipping through forgotten Texas towns.

Givenchy, Pre-Fall 2012; Temperley London, Spring 2012; Emilio Pucci, Spring 2012; Pleasure State; Damaris>

In assembling my big Valentine’s Day report for Stylesight, I kept on coming back to this Marie Claire Italia editorial shot by Wendy Bevan. Swishy full skirts, crafty folkloric details, surreal graphics and roses adorning the hair – who else but Frida Kahlo? It was a dark yet all-the-more-compelling side of romance I wanted to explore further. So I began to connect the dots, unearthing several evocative editorials – all done within the past year – until the trail of rose petals led me to recent collections from Alexander McQueen, Zac Posen, Pucci and Jason Wu.

The Spanish design identity is invariably tied to the Catholic tradition, from Cristóbal Balenciaga’s monastic volumes inspired by nun’s habits to Kahlo’s expressive paintings that recall lavish roadside shrines. It is an aesthetic that fully embraces contradictions: The Day of the Dead (Día de los Muertos) – the subject of much fascination lately – is an occasion that both honors the deceased and celebrates life. From the surrealism of artist Salvador Dali to the magical realism of writer Gabriel Garcia Marquez, it is a sensibility grounded in the earth and floating in the clouds.

In a world where the sacred exists alongside the profane and the austere with the ornate, what exactly does this mean for intimates? It’s over-the-top ornamentation with a side of humor, demure silhouettes studded with subversive details (a cutout here, a bondage-y strap there), and where the beauty and romance of blossoming flowers can be still be found in an endless field of black.

by Nivara Xaykao

After finally catching a few episodes of Boardwalk Empire at a friend’s house not too long ago, I immediately became hooked and marathon-watched the entire series over the holidays. Aside from its fascinating look into the dark underbelly of 1920s Atlantic City, the extravagant, meticulously detailed costumes provide more than enough reason to tune in.

Although women are meant to be seen and not heard in Boardwalk Empire’s criminal underworld, their wardrobes – from the inside to the outside – do plenty of the talking. In addition to the popular HBO show, Woody Allen’s Midnight in Paris set off a fury of Zelda Fitzgerald bobs and Gertrude Stein-centric art exhibits around the world last year; and early images from Baz Luhrmann’s take … Read more