6 posts tagged "Ksubi"
With Coachella kicking off this weekend, the fashion set is flocking westward, and that means it’s high time to invest in some festival-appropriate duds. Things are bound to get mussed up in the desert, so pre-distressed threads, such as Ksubi’s cutoff shorts and Frye’s stonewashed leather boots, are essentials. That being said, a few luxe, concert-friendly accents, like Alexander McQueen’s printed cape, can go a long way. Shop our picks from Diesel, Dannijo, and more, below.
1. Alexander McQueen cape, $955, available at www.matchesfashion.com.
2. Dannijo bracelet, $220, available at www.dannijo.com.
3. Diesel top, $227, available at www.harveynichols.com.
4. Ksubi shorts, $199.95, available at www.ksubi.com.
5. Alkemie belt, $265, available at www.alkemiejewelry.com.
6. Frye boots, $278, available at www.thefryecompany.com.
In fashion years, when something is two decades old, it’s officially “vintage,” meaning that Marc Jacobs’ now-infamous 1992 grunge collection for Perry Ellis (i.e., the collection that made flannel shirts and ripped jeans a look) is officially ripe for reinterpretation. Coincidentally (or perhaps not), Phillip Lim and Dries Van Noten both turned out fresh takes on layered plaids and florals for Spring 2013, inspiring us to lace up some combat boots (we’ll take a heeled version these days) and cue up some Mudhoney. Shop our grungy gets from Alexander Wang, Ksubi, Rag & Bone, and more, below.
1. Rag & Bone jacket, $795, available at www.net-a-porter.com
2. Ksubi jeans, $292, available at www.ksubi.com
3. Eugenia Kim hat, $143, available at www.forwardforward.com
4. Alexander Wang boots, $825, available at www.net-a-porter.com
5. Steven Alan shirt, $198, available at www.stevenalan.com
To view more looks, click here.
Fashion’s scope is undeniably global. If you’ve been keeping up with Tommy Ton’s latest street-style dispatches, you already know that right now, the action is in Sydney, where it’s all about showcasing local talent. This season, when Aussie heavyweights Dion Lee and Josh Goot pulled out at the last minute (reportedly to focus on building their respective international presences), it gave up-and-comers a chance to seize the spotlight. The week kicked off with Romance Was Born’s action-packed collection, featuring graphic prints borrowed from Marvel comics. Yes, we’ve already seen cartoon couture stateside from Phillip Lim, but this lineup had plenty of its own ka-pow. Other memorable moments included the directional, draped looks in rich-colored silks from Ellery (pictured) and Jenny Kee’s over-the-top headpieces and one-of-a-kind gowns. Naturally, there was a commercial focus, too. Retailers are sure to scoop up the on-trend denim-on-denim looks seen at Ksubi and Zimmermann’s perfectly pretty, floral frocks. It seems things are looking up down under.
CLICK FOR A SLIDESHOW to check out our Sydney fashion week highlights.
At dusk in Sydney’s Botanic Gardens, huge white cockatoos are still screeching around as the bats begin to stir, and the sky is momentarily filled with two winged species as different as day and night. It’s an amazing sight, perhaps not as charming as the lorikeets, the small parrots that settle to eat out of a visitor’s hand on the terrace of Heidi (Sass & Bide) Middleton’s house in Palm Beach just north of the city, but a reminder nevertheless that nature never stops putting on a show in Sydney. How can fashion compete, especially when it seems to flourish best in urban environments like Milan or Paris, where the spectacle comes courtesy of human beings?
Last week, the Australian fashion industry attempted to mount a persuasive alternative to nature’s charms, but when the most convincing designers seemed to be those who embraced and celebrated their environment, it was clear that you just can’t beat sun, sea, and sand. (All three were in full effect as Australia’s collections for next spring/summer were shown while this spring/summer dragged itself out in extravagant Indian style.) Seventh Wonderland (pictured, above left) and Zimmermann specialize in swimwear and, like designers in similarly blessed Rio, they take the bikini farther than you could imagine. Nicky Zimmermann in particular struck a sophisticated balance between form and function: Her retro references evoked haute Hollywood, but her prints were a contemporary blend of Spirographs and silvery black and white florals (above, right). And the cover-ups that accompanied the swimsuits (i.e., extended the brand) were sleekly glamorous in a way that seemed entirely natural for Sydney flesh honed, toned, and tanned by endless summers.
It’s a body-conscious aesthetic that has been successfully exported by Sass & Bide’s Middleton and Sarah-Jane Clarke, Kit Willow-Podgornik (whose new scuba dress with Lycra ruffles will spring from swimming pool to cocktail party missing nary a beat), and Josh Goot. Such is their international profile that these designers choose to spend their promotional dollars abroad. A shame, because the hometown program could have done with their gloss and focus. Although Goot, coming off his strongest collection yet, did concede, “Instead of trying to capture what’s over there, we should capture what’s over here, because what we have here is unique.”
Granted, the Sydney flora and fauna have a very particular quality, but Australian fashion week proved a point that is anything but unique. The concept of the fashion week has become a prime component in the cultural identity of cities all over the world (not just cities—Transylvania just rolled one out), and they all seem to feature the same cast of characters: the Local Hero, the Showman, the Avant-Gardist, the Next Big Thing, the Arty Duo, the Budding Supermodel, and so on. Sydney’s supe-in-the-making was 19-year-old aboriginal Samantha Harris. Its Showman was Alex Perry (1,000-foot catwalk, dressy glitz, sleb front row). The Avant-Gardist was Ben Pollitt, whose nom de mode is the more appropriately Teutonic Friedrich Gray (though it’s Rick Owens who deserves the royalties). Anna Plunkett and Luke Sales were the Arty Duo, cross-pollinating with Local Hero with their label Romance Was Born (pictured, below left). Hence, a late-night slot (made later by a 90-minute delay), a worshipful audience, and a collection that joyously erred on the side of delirious excess. (Dinosaurs mating with the Medicis under the volcano? The scenario could have been torn from Galliano’s back pages.) Or perhaps the Local Heroes were the Ksubi boys, George Gorrow and Dan Single, whose denim label hit the comeback trail after some business setbacks with a spectacle that was all crowd-pleasing style and precious little substance.
Next Big Thing? Undoubtedly Dion Lee (below right), 24 years old and already showing the kind of promise that slots him in alongside young Turk peers like Marios Schwab and Proenza Schouler. His clothes were precise and polished, his prints were extraordinary (ultraviolet Rorschach blots looking like eerie florals). And Lee’s show was perfectly edited and paced, qualities that were sorely lacking elsewhere in the week. It was also staged in the Sydney Opera House, a building that is still so breathtaking after nearly 40 years that it’s a reminder of what human beings can achieve even when the natural world on their doorstep conspires to distract them at every turn. And there’s surely some inspiration there for young hopefuls like Dion Lee.
Nature abhors a vacuum, and fills it. Call that the law of Ksubi (née Tsubi), which launched ten years ago this month. At the time, surf pals George Gorrow (pictured, right), Dan Single (left), Paul Wilson, and Oscar Wright were distributing a line of sunglasses and got a stand at Australia fashion week. Alas, there wasn’t much to fill said stand with. “We had, I don’t know, five pairs?” Gorrow recalls. “That was going to look ridiculous. So we decided to make some clothes…” A decade later, Ksubi is closing out Australia fashion week in Sydney on May 7 with a multimedia runway show styled by Brana Wolf. Below, Gorrow and Wilson talk to Style.com about launching shoes, possibly/maybe making the move to New York fashion week next year, and ten years of letting things roll, Aussie-style.
What made you guys decide to start a clothing line?
George Gorrow: “Decide” might be too strong a word. Back then, we were all living in this town on the northern beaches—one of those places that’s like, somewhere on the way to somewhere else. There wasn’t much going on other than skateboarding and surfing and hanging out with your friends, and if you wanted to do something else, you kind of had to make it up for yourself. So people got creative—painting, making music or videos. We had a million little projects going on. We were managing bands, hosting parties, doing just about anything to make some money. That’s how we wound up distributing this line of sunglasses, and that’s how we wound up with a stand at Australia fashion week. And then everything kind of took off from there.
Why do you think the brand connected?
Paul Wilson: I get the sense that people saw that we were a group of likeminded people who were trying something different. I mean, the attitude was different, and even the techniques we were using back then, the way we were making our denim, it wasn’t something you saw anywhere else. The abrasion and destruction of the jeans, all hand-done and very ad hoc, you see that a lot now but ten years ago we were pretty much the only guys doing it.
How do you see Ksubi’s evolution since then?
PW: I think there was one stage of evolution, leading up to now, and this show marks the start of a new stage. It’s kind of like our rebirth—we’ve rationalized and stabilized our business, we have a new manufacturing partner, and from a design point of view, we’re maturing.
PW: The new collection is very much focused on texture, for instance. And we’re developing our own fabrics now and working even harder on our fits. That said, I wouldn’t say we’re maturing that much—our humor and irreverence is always going to be a part of the brand. It’s just that we’re starting to move off of loud and graphic and into clothes that are a little more subtle.
GG: And we’re working on collections that are less reactive and more conceptual, and pushing our whole team to get on board with the seasonal calendar, so we can show consistently. Up to now, it’s been—hey, wanna do a show? Like, if it’s something we feel like doing, if there’s something we want to say. But the plan is to show every season from now on. Next year, we’re intending to move the show to New York fashion week. Continue Reading “Ksubi’s Content To Let The Good Times Roll” »