The devil collects it / with a grin

I find these pieces by London-based Ji-sung Ha (found via NJAL) incredibly interesting. Ji-sung recently graduated from the Royal College of Art with an MA in Goldsmithing, Silversmithing, Metalwork & Jewelry, and titled her final collection 'Is jewelry more important than clothes?'. And it's hard to determine the answer to that question when the jewelry is physically a part of the clothing, as either the cause or practical use of the unraveling garment. That being said, the wearer of the clothing may find that they have ample time to decide which is more important, as it would take quite a while to style that long and possibly fragile string of fabric.

We need to talk about your TPS reports.

I want an office job. And not necessarily for the money. Just so I have a good excuse to buy these new gorgeous hier apparel pieces. Though I suppose I need a job to make money to buy the hier apparel pieces. Hmm.

Knitprint

I'm generally not a fan of trompe l'oeil as a style of print on items of clothing. Basically it calls to mind those most tacky of aprons where the big beer-gutted burger flipper is supposed to be mistaken for a slim bikinied woman one-third of his size. However, when the use of trompe l'oeil is actually handcrafted art that showcases something you do want to stare at and don't want barbeque sauce to promptly be spilled on, that is another matter altogether. Such is the case of Adel Kovac's diploma project, entitled 'Knitprint' (and yes, this is the very same Adel of LoveCarpet). Here Adel has not only created a collection of lovely handknit pieces, but also more ready-to-wear type garments that each have a photo of one of the knit pieces printed onto them. While I've seen something similar to this done before, Adel's decision to incorporate not just 2D photos of the pieces but 3D-ish lookbook photos (i.e. with a model wearing the garment) makes the effect quite charming. In fact, I think I'd prefer to have one of those printed pieces. Just think of all the fun one could have with layering and colour-blocking (assuming you don't have a pair of canary-yellow leggings in your drawer). Sure, you'll look like you have four arms when wearing it, but at least you'll have an extra set of hands to help keep your dress from flying up in the wind.

(Photos via NJAL)

Barbara Í Gongini, S/S 12

Though I do enjoy getting (legitimate) emails of all kinds, some of my favorite emails are the ones from Barbara Í Gongini's PR, as they each contain not one but two magical lookbooks of Barbara's newest collection inside. Before I delve into the S/S 12 ones that I just received today, however, I must point something out. To those of you that hone in quickly on miniscule details, yes, I did correctly make use of the caps lock key when typing out the label's name. Prior to this morning's email, all but the initial 'b' and 'g' were capitalized when referring to the label specifically and not the designer. However, as the press kit and lookbooks now have the name using conventional type cases, I will do the same here.

But so. Whereas last time around I preferred the BÍG Black (i.e. basic) Line to the main line, with the S/S 12 collection I've gotten stuck on the main line (above). There are quite a few favorites that could easily end up in My Top 3 Want List, so you may very well see a new one in the sidebar later today. Particularly the dress below (though I'd wear it with the oxfords, not the heels). Similar to the A/W 11 collection, the starting point of the main line is the square, though this time there's also the added theme of deconstructed menswear (I especially heart that deconstructed/reconstructed mens button-up on the right of the middle row). And, of course, the collection showcases Barbara's penchant for making minimalist shapes quite complex through functional details such as zippers, buttons, and unexpected (arm)holes. Though the sustainability rating this time around is only at 30%, as opposed to A/W 11's 80%, these pieces would serve a freelance editor just as well as a professional David Foster Wallace reader, amateur recipe tester, or expert New York visitor.* Sigh.

And really, I think the reason why I'm spending more ogling time on the main line is that I'm already taking for granted the wonderful androgynous basic-ness of the Black Line. That, and the ironic fact that the B-L is much less black than the main line, with the palette consisting of white, khaki, grey, and black. The B-L, however, is more affordable than the main line (and has a higher sustainability rating of 40%), and so it is more likely that I'll be adding another B-L piece to my wardrobe (via here) sooner than a main line piece. And really, one can't complain about that.

*And yes, all these labels can indeed refer to one individual. Such as myself.

Slow down

I may have to wait for the maple syrup haze to clear before knowing for sure, but I think I may have just found a new favorite label. The photo above from (Berlin-based) UMASAN's A/W 11 collection (found via NJAL) is what first got me, bringing to mind one of my favorite scenes of one of my favorite movies. Then, the silver hair (which I'd like to have in, say, twenty years) of the female model for the S/S 12 collection, and, of course, the gorgeous pieces she wears, made me look more into the label. 

As it happens, the people behind UMASAN call it a 'holistic' label. This means, first of all, that only vegan materials are used (i.e. no leather, fur, wool, or cashmere) AND they stay away from 'chemical manmade fibers' (click here to read about the materials they use, including my favorite, tencel). This is rather reassuring, as a constant conversation in my house is whether things made of vegan materials are necessarily the most environmentally friendly. Secondly, UMASAN is committed to corporate social responsibility. They clearly state that they do not make their own products, but they do make sure they work only with European mills and factories that allow them to stick to their values of environmentalism and quality. Here is where I need to not be under the influence of maple syrup to decide if 'favorite' is the proper word to use for UMASAN, as I obviously prefer to buy from labels that do everything themselves. However, I do appreciate their honesty as to what their strengths as business owners are, and their recognition that it is best to allow others with the technical abilities to produce the clothes. And lastly, the pieces are quite timeless (and somewhat unisex), as UMASAN's standard is to 'slow down' and not become part of the fast fashion industry. Meaning that these pieces (which can be purchased at the UMASAN online shop) are meant to be worn and kept for a very long time. From seeing these gorgeous jackets in particular, I don't think holding onto a UMASAN piece forever would be too hard of a task.

If travel is searching

So, it appears that posting anything of Carly Hunter's is a yearly affair here on kOs, and that annual appointed time has arrived. I feel like I'm maybe the wrong blogger to be posting this piece, as it seems pretty much made for Susie Bubble, but I'd really quite like it for myself. 

This slouchy/oversized blazer is also relevant to my interests. I liked my button-up and blazer combo yesterday so much that I was searching for another button-up in a couple of local shops to get me to the next laundry day (and/or the next not-fall-weather day). But I was rather astounded to find that all the button-ups, at least in my immediate area, are either really quite oversized or have batwing/dolman sleeves, making layering with a normal fitting blazer rather awkward. Perhaps then I should be looking at a looser fit blazer that could fit one and all types of button-ups? Or people should just make normal shirts...

(Photos via NJAL)

Paleontologists have defined no faunal stages for the Holocene.*

I don't quite get all the ins and outs of this piece, but the idea of a blazer with vented or cut-out long sleeves intrigues me. I suppose this one by Belgian designer Sofie Gaudaen (found via Clik clk) is more of a shrug or wrap, but even so. My dilemma this morning on how to wear a pajama-style draped silk top (that doesn't deserve to be covered up) on a cold day would've been easily solved if I had had this. Though my InAisce linen blazer served me quite well, I must say. The man yelling from his car at me standing in the bus stop shelter thought so as well.

*If you want to watch a beautiful music video, I suggest Bon Iver's 'Holocene'. Which basically has nothing to do with the geological epoch. Or, for that matter, this post.

Still

1) Nearly a full year after laying eyes on Konrad Parol's pea coat version, I still love the idea of a coat/cape hybrid. This one (squint to see) is from the F/W 11/12 collection of Italian designer Barbara Bologna's AREA label (found via Queen Michelle's post today). By the way, do you think that whole braid is real?

2) I still love the S/S 11 collection from Yohji Yamamoto. Still ridiculously expensive even on the end-of-season rack, but more tempting after seeing multiple angles of these pieces on LN-CC.

3) Still love this song from Canadian duo City of Glass. Not that the song is that old, seeing as the EP (The Diving Bell) just came out in June, but the new video reminded me how much I like it. These are stand up guys that I'll always remember after sharing a pretty much magical evening in Vancouver years ago with them, a couple of their college mates, and my man. The details of how we all got from place to place are now all a bit fuzzy, but I do know that bowling was involved. Possibly also zombies.

4) Which reminds me: I had the NJAL page of (Central Saint Martins) fashion grad Marina Beresford bookmarked because I liked this dress/look and the fact that Marina titled her collection after (the film version of) The Diving Bell and the Butterfly. Now that I look at them together though, I think that looped skirt is what made the S/S 11 Yohji collection resurface in my mind (you can see the denim version of the Yohji skirt here). Hmm, I suddenly would like a loopy skirt.