Having looked at Etw. Vonneguet’s A/W 2012-13 Tokyo Fashion Week runway show yesterday, I thought we would continue on to the showroom and complete the picture.  I can’t help but think that in the internet age that we find ourselves in, the latter is often the most interesting to the general public, who are keen to actually start planning their purchases seconds after the collection is unveiled.  Certainly the turnaround time for people placing pre-orders and actually receiving them seems to be being driven down with each season meaning that there is an immediacy to the unveiling of the collection that wasn’t there before with the Fashion Week system.  Personally I see it as a compromise between the underground fashion world where you have a dynamism like that which saw Christian Dada rise to fame, where he would send ten t-shirts or 3 pairs of shoes to Fake Tokyo without warning, and cause a rush to run to the store to pick them up, and the Fashion Week world that endeavors to introduce elements of artistic appreciation into how a collection should be perceived.  In the case of Etw. Vonneguet it fits the drive of the designer Olga to put on showrooms all around Japan (which ended only recently) to really communicate with her audience, not only because the kind of people buying her clothes want that aforementioned immediacy, but also because one of the key concepts in her current work is how others might change her work.

As in her sign below the “a” is the unknown that comes between the designer and wearer, and that is what both I and the designer are looking forward to seeing when the collection is worn later this year.

The showroom at the Bunka Fashion Incubation where we caught her work.

Uncharacteristically bright colours for A/W, but more than enough black and moody gradients to keep me happy.

Etw. Vonneguets rapidly expanding accessory range, mostly in brass.

The very cool nail stickers for you to make equations that run across your fingernails.

As ever, the perfume that accompanies the collection.  As the label says, it is not for your skin but the garment itself and completes the isolated sensory experience for each item.

Lots of beautiful Japanese wools turning up this season.

The shirts that both Rebecca and I are very taken with.

Olga has promised that this raindrop effect with turn up in her next collection after we saw it first on her current season shirts.

Very practical and cool mechanical items.  In particular I like the locket style hinged ring.

This season Olga is using the same traditional Japanese textile factory for her dyeing as the beautiful Matohu.

Well there you have it, great stuff all round and rest assured that if there is any more news from this great brand we will let you know.

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2 Responses to ETW. Vonneguet A/W 2012-13 Collection – The Other Half – Part 2

  1. Andrew says:

    I’m enjoying having two articles from you guys on a number of collections this season, and I’m happy to see it applied here as I was quite looking forward to this collection. It’s striking to me how different the pieces look hanging up in bright light than they do on the runway–obviously this isn’t news to anyone but its easy for me to get accustomed to only seeing these clothes worn by models, not hanging up as they’d be in a store or in someone’s closet.

    I also really love Olga’s openness to seeing how others interpret her work, both because I think it is simply a fact of how communication happens, and also because it is particularly obvious (and interesting!) in fashion, adding to the designer’s work and not taking away from it. I also feel like it helps to establish a kind of connection between her and the people who wear her clothes, as goofy as that may sound. It’s one thing to know that people will change your work, and it’s another to embrace the fact and integrate it into how you personally view what you’ve created, something which I think shows personal and creative strength as well as trust in her customers. Reminds me of select shop runway shows a la Candy and Wut Berlin, which I am a big fan of as well.

  2. Samuel says:

    @ Andrew

    Thanks, we wanted to break important collections up into chunks and hopefully avoid boring people! You are quite right about the runway images looking quite different, I think it was the mixture of natural (but dim) light and the weird artificial UV light bouncing off the foil. I think it made most people’s cameras panic!

    On the second point, I think that the issue of interacting with your audience more and more directly is going to be a defining feature of fashion the further you get away from Paris and Milan. People clearly want a more personal connection with fashion and its designers, and the savvy ones are going to take advantage of it and turn it into something creative as Olga does.

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