a flat shop’s first film night looked at presentations from autumn / winter 1999 - 20 years ago. cloister workrooms (a studio by members of a flat shop) previously showed 1998 shows, so we thought 1999 would be a suitable, albeit somewhat disjointed, follow up to the event.
the shows were chosen due to personal preferences of a flat shop, alongside an attempt to represent the year In some sense. video of some shows weren’t able to be acquired - some notable ones being - junya wantanabe a/w 1999, undercover a/w 1999, helmut lang a/w 1999 and comme des garçons a/w 1999.
yohji yamamoto autumn/winter 1999 women’s wear
jean paul gaultier autumn/winter 1999
maison martin margiela autumn/winter 1999
“For the twenty-first Martin Margiela collection a white decor stands within the main area of the show space in which garments of '0' and '1' hang in a line. Across the showroom, garments of '6' hang in the formation of a mini boutique. The shoes of '22' are displayed on a white table. Two huge chandeliers, dressed in muslin dust covers hang above the showroom.
The press boutique owners are invited by fax to make an appointment at the showroom to view the collection. The showroom is open for one week; appointments are each half an hour.
On entering, all visitors are invited to attend a screening of a short video on the collection, which is projected in a small cinema within the building. Popcorn and soft drinks are available as those invited wait to enter the cinema. A large poster for the film is plastered to the door of the cinema; Stills form the film are displayed within glass cases. The cinema is entirely painted in white. There are three rows of old cinema chairs and two spot lamps within.
Martin Margiela directed the film, shot in the same cinema two weeks earlier. It features two women wearing the clothes and accessories from the collection to a sound track of an instrumental version of a tune taken from an old hits compilation album. The lights go up after seven minutes ready for the next screening.” - https://www.europeana.eu/portal/en/record/2048208/OBJ27464.html
this 1999 show by BLESS titled no.9 ‘merchandising’ sees a camera person and models wearing BLESS branded garments visit various spring/summer presentations at paris fashion week 1998. the camera follows the models dressed in BLESS as they attend shows.
"BLESS N° 09 is more of a MERCHANDISING project than a fashion collection. The newly developed FAN-ITEMS are made to show their owners as like-minded persons / fans / searchers for a different kind of value, besides a specific shape and colour. Thus the creation of an intentional UNISIZE basic shaped clothstyle (sweatshirts, t-shirts, polo shirts all in xl size, and jeans) which means a chance for everybodyshape - and allows easy access to people in a UNISEX (female, male, thing) and UNIAGE (first - last days) spirit, ignoring stereotypical taste, social classifications, dressing habits and usual shape preferences. Since it’s not about the clothes themselves but their values they portray (through their speaking front and quiet back), they can be worn at any kind of occasions (FOR PRESENTATIONS) to demonstrate a personal attitude or to give a fashionable statement or not." BLESS
raf simons, mens a/w 1999
raf simons’ autumn/winter 1999 collection titled ‘Disorder, Incubation, Isolation’
tom ford for gucci, womens a/w 1999
issey miyake, womens a/w 1999
a small snippet of a beautiful collection - we recommend viewing the slideshow of the presentation to see more detail (click to follow link)
issey miyake, menswear a/w 1999
a playful presentation beginning with sports and suiting(?). designed by issey miyake’s associate naoki takizawa.
hussein chalayan, ‘echoform’ womens a/w 1999
hussein chalayan’s autumn/winter 1999 collection is presented in a stark white environment, with musicians who score the show visible in silhouette through a semi-transparent material at the end of the runway. if you’re interested in the chalayan’s approach to design we recommend the work of bradley quinn, who has written extensively on the relationship of technology and architecture to fashion.
“I have always been interested in technology, and there are elements of technology in my clothes. And I work in a cross-disciplinary way with people in other fields who con- tribute to what I am doing. I am interested in forms generally, not just in clothing but in other things too.”
In the Echoform collection (Fall/Winter 1999) Chalayan created thought-provoking designs like leather dresses inspired by car interiors to represent “externalizing speed and putting it back on the body”—and mimicked aeroplane interiors by attaching padded headrests to dresses to evoke thoughts on speed, spatiality and well-being.
- bradley quinn (2002) a note: hussein chalayan, fashion and technology, fashion theory, 6:4, pp. 359-368 (click on link to open pdf
books by bradley quinn:
techno fashion, 2002
the fashion of architecture, 2003
textile futures, 2010