Wearable Haute Couture has been exciting me since 2012. The appreciation of unconventional materials, silhouettes, architectural and structural designs seems to come naturally to me. I have a thirst for unorthodox designs, and therefore I find myself drawn to designers unafraid to tout their craftsmanship to an audience who crave their talents.
These innovative and creative minds are proving to many that the basis of Fashion Technology is more than just blinking lights, it is the freedom for designers to use their building materials in ways never imagined. To be architecturally influenced to use textiles dramatically and create shapes, angular folds and oversized proportions that will wow beyond expectations.
Nowadays, designers are encouraged to strategically use technology in their collection, think Zac Posen, Chromat and Henry Holland. They are designers that are most likely inspired by Wearable Haute Couture pioneers such as British designer Gareth Pugh (do you remember Spring/Summer 2012 RTW collection), designer Richard Sun’s whose collections are less about practicality and more about beauty, shoe designers Zaha Hadid, Ben van Berkel, Fernando Romero, Ross Lovegrove and Michael Young who have created 3D-printed superstructure footwear, Lianna Sheppard’s Modu_Gram collection of striking pieces that showed innnovation through the connected built-in magnets, innovator of 3D printing Iris van Herpen known for her three-dimensional collections, Winde Rienstra who is all about structure, space and blurring the lines between clothing and objects and last but not least designer Konstantin Kofta whose baroque architecture inspired pieces include handsome sculptural leather backpacks.
What it all comes down to is that the Wearable Haute Couture movement is an appreciation of unconventional craftsmanship, long may it rule and inspire.