Etw. Vonneguet’s designer Olga is always on the lookout for new outlets for her anarchy and with her latest collection she might just have found her calling as a designer. That is not to say the elements she has employed in the past were absent, we had the familiar beautiful digital prints, UV reactive elements, and as always, a unique location – this time at the Claska hotel in Meguro, a hub of Japanese design for decades, but these were all a footnote next to an inspired subversion of patterning that no-one was expecting.
Fashion needs an element of the unexpected to actually feel like fashion rather than a simple regurgitation of ideas, but that is all too difficult in the world we find ourselves in where most (but not all) good ideas have long been taken to their logical conclusion. Olga’s idea is to insert a random value into the work, something similar to the way in the artisanal fashion world people deliberately insert flaws into a piece or else set their sewing machines incorrectly to achieve a pleasantly inconsistant seam. However, Etw. Vonneguet takes this to the next level in this collection by first creating a garment in CG and from there working backwards to find the pattern of the digital creation. These digital pieces did turn up on the runway, but those exact same patterns were also remixed to create more wearable streetwear – albeit infused with a sporty futurism that fitted in surprisingly well in the previously organic Etw. Vonneguet universe.
Here you can see the CG design process at work, the resulting shapes feeling like a digital abstraction of the body.
The show began with a focus on the more wearable end of the spectrum, but even here the asymmetric dyeing, UV reactive top and strong structural shape are satisfyingly avant-garde, yet still inclusive.
Moving on to the key outers and here you can see some of the shapes from the CG garments turn up that struck great futuristic shapes with ease.
Everything was conceivably unisex, but looked very feminine worn as a single layer.
In the second half of the show the clothes appeared to glitch, a common theme with Bodysong, but who handles the idea very differently.
Finally the clothes reach their limit and become a surreal transgression from the digital realm.