I loved the costuming at the film “Bright Star” (2009). Janet Patterson served as both the film’s costume designer and production designer. The costumes were going to be especially critical for this film, as Abbie Cornish’s character, Fanny Brawne, is a seamstress who puts a lot of thought into her own clothing. She was always trying to make a conscious statement. For example, when she wears the high-collared silver dress to the ball, she is creating herself as a peacock.
Photos available from http://www.kerrfect.com/2010/11/bright-star-2009/
The text was written according to the interview with Jane Patterson, available from http://www.wmagazine.com/w/blogs/editorsblog/2010/01/19/five-minutes-with-bright-star.html
Adjustable neck piece embellished with metallic beads and chains at new Karen Millen collection (at left) and striped knit cardigan with draped front (at right).
I find KAREN MILLEN attractive for me as this brand pays attention to details. I am interested in details as a brand identity and mainly in collars.
Pictures are taken from http://www.karenmillen.com/Racer-back-t-shirt/New-In/karenmillen/fcp-product/903000055484 and http://www.karenmillen.com/Striped-knitted-cardigan/New-In/karenmillen/fcp-product/903000055692 relatively.
Ute Ploier designed a new collar detail took the bow tie as the prototype. This extremely contemporary multilayered bow tie looks like one of Ute Ploier’s collars which I published before named it “a 3D collar” https://fashioncollars.wordpress.com/?s=Ute+Ploier This “bow tie” can serve as a detail of the brand identity. I can recognise this label through some details but I realised that I do not have any idea about Ute Ploier’s logo. Do they have a symbol which appears along with the brand name?
Paris Men’s Fashion Week A/W 08/09
Posted by Johannes Thumfart, 2008.
Nice neckline detail at Ute Ploier’s collection, Paris F/W 06
by James Trevithick, 2006
I am impressed with Kat Marks’ collection. It looks like amazing embellishment at the neckline! And her works are strongly recognisable.
Kat Marks is an established clothing and accessory designer who uses specialized craft to produce original fashion objects. Her products are used as a tool to establish a visual dialogue in film and photography.
‘The Karass’ is Marks’ graduating collection. This 12 piece collection consists of wet-moulded vegetable-tan leather bibs, rigid plastic chest plates and tuxedo bow-ties.
Marks collaborated with SHOWstudio and iconic British photographer Nick Knight to produce fashion film ‘The Karass’, which highlights the material nature of her craft and is an inspired mix of film noire and as with many of her collections, the writings of Kurt Vonnegut.
Kat Marks is originally from Calgary Alberta Canada.
Available from http://showtime.arts.ac.uk/katmarks
A man’s crochet collar by Matteo Molinari.
Photographer: Christopher Agius Burke.
Hair and makeup: Pace Chen.
Available from http://showtime.arts.ac.uk/matteomolinari
As my project is Collars and collarless necklines as a brand identity I want to emphasize the brands which collections demonstrated recognisable necklines at Menswear Paris Fashion Week A/W 11/12. My topic develops the idea that people can recognise a brand name through the details and without looking at the label.
Double contrast collars at Acne. This collection’s neckline looks really recognisable. Menswear is less variable than womenswear, so details is a very important aspect in menswear.
Neckerchiefs, collars with knots and double collars applied to collars of shirts at Alexis Mabille. Collars with knots look informal while double collars look rather formal, and both look recognisable. Double collars can be found at other brands’ collections, but Alexis Mabille’s double collars look recognisable because of their shapes where one collar is curved, which cannot be found frequintly in menswear, and the other is a collar of stright lines, which is more inherent in menswear.
Belted and zipped collars at BILLTORNADE. Belted collars can serve as a brand identity if a company apply this kind of collars to each collection just developing new design directions for these collars every year or providing a recognisable detail for them, for example, proprietary buckles or belts. So BILLTORNADE’s belted collars look recognisable if we examine this particular menswear fashion week but it’s zipped collars, or collars with zip detail (enlarge the last picture), can serve as the brand identity.
Collars with striped texture (in white colour) and giant collars at Damir Doma. I consider wide shapes of the neckline of this collection rather trendy than to be an example of a brand identity. Good example of this brand identity could be collars with striped texture. This kind of collars looks casual, stylish, comfortable and saleable. They can be applied to formal shirts.
Contrast collars, and contrast and fur lapels as a strongly recognisable detail at Dries Van Noten. This is an eye-cathing detail and this is a good example of a brand identity.
High stand collars with hoods ad Ehud. These hoods with stand collars look protectable and, therefore, suitable for windy and rainy/snowy weather. They look quite recognisable but can be applied only to particular garments. Ehud could develop similar but light hoods for summer collection, for example semi-transparent, to protect necks from sun radiation.
Leather collars, striped contrast collar jackets, fur collars a contrast detail of shirts, and collars with Rottweiler print at Givenchy. I like the idea to attach fur collars to shirts as it looks suitable for autumn or winter time. Collars with Rottweiler print is a good example of the brand identity. All the collection looks quite brutal and dramatic.
Triangular details and contrast hems at the neckline, and also seams that look like a different neckline at Henrik Vibskov. Triangular details below the collar have potential to serve as a brand identity.
Twisted drape turtlenecks and stand collars with a fasten detail at Hermes. They look rather trendy than recognisable, but they have potential to serve as a brand identity if they are applied to every collection. Any simple tight-fitting sweater or jamper can look more attractive with such a drape detail.
Giant collars with lapels at Jean Paul Gaultier. It looks startling at catwalk but maybe too complicated for real life. Anyway, these necklines look eye-cathing and recognisable.
Collars as embellishment at the neckline at Julius. These collars look recognisable but only as a separate embellishment at the neckline. These men’s detachable collars can be sold as accessories and can be slightly changed every season or year to suit entire collection.
Giant double collars and detachable stand collars at Juun J.
I want to give special attention to Kenzo. Kenzo attached safety pins to simple collars under ties and the neckline became strongly recognizable. This detail looks recognisable only if we consider this particular menswear fashion week because if a man stitch a safety pin to his collar it will look rather like his own decision than a detail of the brand he is wearing.
Separate collars by Louis Vuitton. I think these collars do not serve as a brand identity. They just emphasize the neckline and make the image more impressive.
Turtleneck along with flat collar and unusual ties made of different fabrics at Lanvin. This neckline is not a detail of the brand identity because this is just a combination of different garments, but the ties of this collection have potential to serve as a brand identity.
Massive contrast collars at Martin Margiela. They did not dominate the collection but they are just noticeable.
Collars with massive contrast hems at Miharayasuhiro. These details can serve as the brand identity. Colours and design of hems can be changed seasonally.
Raf Simons. A detail of black and blue squares attached to different parts of clothes is a very good example of the brand identity. This detail can be stitched to many garments such as jackets, shirts, coats, jampers, sweaters, and etc. And also this detail can be stitched to a variety of parts of a garment and accessories.
Triangular shapes at Rick Owens.
Extremely high collars at Viktor Rolf. They look rather trendy than recognisable.
Collars with contrast details which look like untied bows and contrast collars at Yohji Yamamoto. I think that contrast collars at this collection look just trendy, and collars with contrast details which look like untied bows are suitable for the brand identity.
Just a nice picture of separate collars
1955: A new idea from Hamburg, the ‘Sea Suit’. The buoyant nylon suit and separate collar mean those quiet moments smoking a cigarette and reading the paper, or even drinking a cup of tea, need no longer be confined to dry land. (Photo by Hans Meyer/BIPs/Getty Images)
Date created: 01 Jan 1955
Source: Hulton Archive
Available from http://www.gettyimages.co.uk/detail/3335835/Hulton-Archive
Capes with collars