Jeremy Laing Spring/Summer 2010 Presentation
It was fitting that designer Jeremy Laing showcased his Spring/Summer 2010 collection at Milk Studios in New York City’s Meatpacking District, a once industrial area that has been transformed into an haute couture hub. See, the self-taught Canadian designer, who spent much of his childhood in Germany, has developed an aesthetic that fuses together geometric and organic approaches to construction. His silhouettes aren’t overly structured or constricting, nor are they fully free-flowing — instead, Laing manages to combine the soft and the hard, the curved and the linear. He might swathe the body with a draped dress, then stagger and fold the layers of fabric to create interesting asymmetrical shapes. He might create a mod-flavored, sleeveless shift dress, but he’ll downplay its femininity by adding jagged, unfinished seams or creating patterns that play tricks on the onlooker.
For his Spring/Summer 2010 collection, Laing opted for a muted color palette — from eggshell white to matte black, charcoal gray, taupe, icy blue, steel gray, porcelain white, light tan and antique pink. He selected fabrics like cotton jersey, soft suede, cupro/cotton, silk georgette, lightweight leather, and crinkle gauze, all of which can be wrapped, draped and made to hang on the body in a loose but shapely manner.
One of my favorite pieces was the Walled dress, pictured at top, a white stucco jacquard and crinkle gauze piece with leather tiles arranged in a diagonal pattern. Notice how the severity of the geometric patterns created by the juxtaposed fabrics and the leather tile adornments is offset by the frayed and slightly undone hemline along the skirt. I also adore the White Partition Vest (pictured below), a stucco jacquard piece with oversize sleeve holes and large lapels with a light beige trim that falls below the hip.
To create a strong look that suited the collection, hairstylist Marco Santini opted for slicked-back updos with a modern and “aerodynamic” twist. Instead of soft and dainty chignons or ballerina buns, Santini developed bolder, slightly mussier updos. Gelling back the hair to create a “wet hair” look, he then pulled it back and shaped the bun in an unconventional and edgy manner. “We wanted the collection to be the focal point,” says Santini. “As the clothes were strong and structural, we did not want to add an imposing hair look. The hair is strong to complement the clothes, which are designed for a confident woman with a hint to edge.”
Santini’s first step involved applying Davines Creative Moulding Foam onto dry hair and working it in until the desired texture was achieved: a mixture of straight and teased strands. He then manipulated the hair in the bun to create a mussier shape with seemingly aerodynamic qualities and secured it. To create the wet look, meanwhile, he applied Davines Wizard No. 8 Quick Setting Hard Gel to the finished style. Before the models hit the stage, Santini sprayed Davines Defining Gloss onto their heads to add shine.