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Christopher Kane RTW Spring 2014: Mixing Science and Fashion Make An Educational Combination

Christopher Kane RTW Spring 2014: Mixing Science and Fashion Make An Educational Combination


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Over the weekend Christopher Kane premiered his flower-inspired Spring 2014 collection during London Fashion Week. Putting a scientific twist on one of the most common spring trends, his designs were nothing if not innovative, creating a whole new way to wear floral. Dresses and sweatshirts were emblazoned with the word FLOWER, while several pieces were imprinted with full botanical diagrams. A few tamer dresses used flowers in a more subdued way, with petal shaped cutouts trimmed in bright metallics.
Designed in a color palette of pastels and nudes, the collection actually does wonders with pale hues. Watercolor dresses in an iridescent shimmer are visually stunning, even if they look very uncomfortable. Personally, I could withstand a little discomfort for metallic pastels.
The petal inspired dresses, while much more subtle in their design, seem a little implausible, with cutouts in areas that really should be covered unless you want to incur a public nudity fine. The lavender petal dresses give a little more life to the collection with their contrasting hues of purple and cerulean metallic trim, but for the most part these petal pieces should not be hanging in anyone's closet.
Sheer slip dresses in minty green and white are a throwback to the '90s (along with a few other shapes from this collection) but are given a new, albeit funky twist, with straps and trimmings that are exactly like those clip cords your dentist attaches your bib with. And while the dresses look pretty, being reminded of my last checkup is really the last thing I want.
The botanical dresses are easily the most interesting pieces in this collection, even if they are ridiculously eccentric. While I can't imagine ever wanting to clash science and fashion together (unless perhaps you're a fantastically dressed physics teacher), you have to admit it's sort of a fun idea. Besides, now you can locate the stigma and anther of a flower. Who knew floral dresses could be so educational?


Vogue Runway Did a 10-Year Fashion Challenge: Check Out the Results Here

An archivist’s task is not only to preserve the past, but also to analyze its ebbs and flows. Thanks to the sheer number of Fashion Weeks and the plethora of seasons, to say nothing of trends, fashion can seem mercurial. It’s true that some designers seem to follow the butterfly’s fluttering path, alighting briefly on an idea or look only to move quickly on. Look closer though, and many return to the same flower, as it were, time and time again. This same, cyclical pattern is often repeated at heritage houses, regardless of the rapid rotation of design leads. A creative director’s remit is no longer just about respecting or rejecting the history of the house going back to its founders, but taking into account all of a maison’s histories, past and present.

Inspired by viral #10YearChallenges, we’ve done a fashion version, digging into our deep archives (spanning more than 20 years) to compare and contrast Spring collections from 1999 and 2009, and 2009 and 2019. Enjoy.

Alexander McQueen 1999 vs. 2009
Lee Alexander McQueen was creating Insta-perfect moments long before Facebook existed. One of the most unforgettable of those experiences was the finale of “No.13,” featuring Shalom Harlow on a spinning platform being spray-painted by two robotic arms rented from a car factory. The designer, known for juxtaposing the raw and the refined, here created a confrontation between technology and heritage—this show was presented just before Y2K mania set in. Ten years later, the nature-loving McQueen harnessed technology once again. This time, in the interest of environmentalism, he celebrated nature through digital prints based on things like wood grain and butterfly wings.

Alexander Wang 2009 vs. 2019
This New York wunderkind might be best known for his scruffy dressed-down MOD (model off duty) aesthetic, but there’s a strong streak of athleisure running through his work, too. Call it a case of opposites attracting: The designer, not one for team sports, has consistently borrowed from the sartorial playbooks of football, surf, and, in 2009, boxing. Ten years on, vestiges of his rah-rah sports spirit remain, if now playing second string to a harder, edgier look directed to Insta-girls.

Balmain 2009 vs. 2019
Balmain was once a bastion of conservative couture, but when Christophe Decarnin took over in 2005, the house was more than dusty, it lacked identity, allowing Decarnin to approach the brand as if it were blank page. The Frenchman cut a swagger with peaked-shoulder silhouettes and plays on high and low (ripped jeans with a bejeweled jacket) that sometimes teetered on the edge of good taste. Indeed, they were seemingly pulled back from the precipice by their hefty price tags alone. Working alongside the reclusive Decarnin for some of the glory years was the young, outgoing, and media-savvy Olivier Rousteing. Since taking over design responsibilities in 2011, he’s retained some signature silhouettes from Decarnin’s time, while upping the wow-factor both in the garments and on the front row.

Calvin Klein 1999 vs. 2009
Calvin Klein’s Spring 1999 show opened with airy white looks and closed with shots of bright color, which he mixed or used alone in solid strokes. Ease defined this collection, as it did the “King of Clean’s” approach to fashion in general. Klein served up minimalism charged with sexuality, and he had no time for fuss or stiff formality. When Francisco Costa, a Gucci alum, took over, he maintained Klein’s legacy, tweaking it with bits of structure, and in the case of his Spring 2009 collection, Deco touches.

Christopher Kane 2009 vs. 2019
With his debut collection of neon bandage dresses in micro-mini lengths, Christopher Kane established himself as a go-to designer for latter-day sex kittens. By 2009 he had moved onto bigger prey, having rewatched Planet of the Apes, The Flintstones, and One Million Years B.C. A decade on, his collection was informed by nonfiction fare, specifically David Attenborough’s films on the mating behaviors of wildlife, through which he imbued his clothes with some animal magnetism.

Comme des Garçons 2009 vs. 2019
Rei Kawakubo might be an iconoclast, but that doesn’t mean she takes a slash-and-destroy approach to her work. In fact, close observation reveals that the designer mulls over and returns to themes of interest. Kawakubo, noted critic Sarah Mower, “virtually invented black as the noncolor of fashion in the �s,” and for Spring 2009 she took a new look at her signature sooty hue. Shown in a black venue her black clothes were enlightened by towering white wigs (à la Marie Antoinette) and slashes of skin that were visible through the geometric cuts of the garments. These jagged lines (a sort of Frankenstein mash-up of the Charlie Brown zigzag) reappeared 10 years later in a collection centered on psychology. “What I thought of in the end,” Kawakubo said, “was a profoundly internal approach . . . about what’s deep inside.” Here, her cuts seemed to serve as a way out, as escape routes to a hard-earned freedom.

Hermès 1999 vs. 2009
There are many fewer than nine degrees of separation between Martin Margiela and Jean Paul Gaultier. The Belgian worked for the Frenchman before going out on his own Gaultier later became Margiela’s successor at Hermès. Both evolved this heritage house by adding select elements of popular street culture. Margiela’s Spring 1999 collection, for example, was accessorized with house’s first sneaker (!), the Quick, introduced a year earlier. Gaultier paired the maison’s famous and luxurious leathers with a more workaday material, denim, for his Western-themed Spring 2009 show.

Louis Vuitton 2009 vs. 2019
In 1997 Marc Jacobs was tasked with creating a ready-to-wear collection for the famed French leather-goods firm Louis Vuitton. His Spring 2009 collection brought together wide-ranging references, from Africa to 1940s pompadours, all served up with a helping of 1970s decadence. “It’s the coming-together part that gives it its spirit,” mused Jacobs. Nicolas Ghesquière, creative head since 2013, said he took the time “to dig into my obsessions” for his Spring 2019 collection. Foremost among his interests is futurism the �s are a recurrent preoccupation as well, and he combined them in a way that spoke to life in a shattered, image-heavy, digital age.

Marc Jacobs 2009 vs. 2019
Marc Jacobs has racked up mega-miles while time traveling through fashion. His destination for Spring 2019 was the 1980s, with a stopover at the Avenue Marceau atelier of Yves Saint Laurent. Ten years before he had wowed with a many-layered and much celebrated collection into which myriad references could be read. Jacobs, though, was more interested in the bigger picture. “It’s about the joy of dressing up,” he said.

Martin Margiela 1999 vs. 2009
Martin Margiela might be a man of few words—the designer never took a bow or sat for photographers, and he communicated mostly via fax𠅋ut he didn’t shy away from using words in his work. His Spring 1999 collection included a men’s tailleur that read, “That suit is you, sir.” Oh, the irony! Even before that, though, he expressed his AIDS activism through the slogan tees that read: “There’s more action to be taken against AIDS than to wear this T-Shirt but it’s a good start.” Debuting for Fall 1994, they were the highlights of his Spring 2009 show, and they continue to raise money for AIDS research today.

Prada 1999 vs. 2009
Miuccia Prada is constantly upending bougie ideals of femininity. Soon after the company launched a sport line, Linea Rossa, in 1997, the athletic influence made its way into the designer’s Spring 1999 women’s collection, which featured backpacks and fanny packs as well as more utilitarian fabrics. A decade later, Prada dove into the lingerie drawer one more, resulting in suiting with a sensual touch for ladies who launch, not lunch.

Rodarte 2009 vs. 2019
Kate and Laura Mulleavy might have a penchant for Japanese slasher films and a distinct fondness for anything Goth, but they’re romantics at heart. (One of their all-time favorite things to do is visit the roses at the Huntington Botanical Gardens in Pasadena.) Even their apocalyptic Spring 2009 show, peopled by �utiful androids,” closed with chiffon gowns, some with swirling, sculptural, cut-out bodices. The sister’s trademark Gothic romance was back in full force for Spring 2019. Their collection, presented in New York City’s Marble Cemetery, featured models in unabashedly princess-y gowns, crowned, naturally, with flower headdresses.

Yohji Yamamoto 1999 vs. 2009
Black is Yohji Yamamoto’s standby hue, but he’s not wed to it, as evidenced by his several bridal-themed shows. The best known of these is Spring 1999, which featured transmutable outfits, including a nuptial number with a zippered crinoline. �hind the wedding dress there must be many stories,” he mused. For the finale of his Spring 2009 show, Yamamoto presented another white, bell-shaped white dress. This one that swayed around the mast of the model’s body like a sail.


Vogue Runway Did a 10-Year Fashion Challenge: Check Out the Results Here

An archivist’s task is not only to preserve the past, but also to analyze its ebbs and flows. Thanks to the sheer number of Fashion Weeks and the plethora of seasons, to say nothing of trends, fashion can seem mercurial. It’s true that some designers seem to follow the butterfly’s fluttering path, alighting briefly on an idea or look only to move quickly on. Look closer though, and many return to the same flower, as it were, time and time again. This same, cyclical pattern is often repeated at heritage houses, regardless of the rapid rotation of design leads. A creative director’s remit is no longer just about respecting or rejecting the history of the house going back to its founders, but taking into account all of a maison’s histories, past and present.

Inspired by viral #10YearChallenges, we’ve done a fashion version, digging into our deep archives (spanning more than 20 years) to compare and contrast Spring collections from 1999 and 2009, and 2009 and 2019. Enjoy.

Alexander McQueen 1999 vs. 2009
Lee Alexander McQueen was creating Insta-perfect moments long before Facebook existed. One of the most unforgettable of those experiences was the finale of “No.13,” featuring Shalom Harlow on a spinning platform being spray-painted by two robotic arms rented from a car factory. The designer, known for juxtaposing the raw and the refined, here created a confrontation between technology and heritage—this show was presented just before Y2K mania set in. Ten years later, the nature-loving McQueen harnessed technology once again. This time, in the interest of environmentalism, he celebrated nature through digital prints based on things like wood grain and butterfly wings.

Alexander Wang 2009 vs. 2019
This New York wunderkind might be best known for his scruffy dressed-down MOD (model off duty) aesthetic, but there’s a strong streak of athleisure running through his work, too. Call it a case of opposites attracting: The designer, not one for team sports, has consistently borrowed from the sartorial playbooks of football, surf, and, in 2009, boxing. Ten years on, vestiges of his rah-rah sports spirit remain, if now playing second string to a harder, edgier look directed to Insta-girls.

Balmain 2009 vs. 2019
Balmain was once a bastion of conservative couture, but when Christophe Decarnin took over in 2005, the house was more than dusty, it lacked identity, allowing Decarnin to approach the brand as if it were blank page. The Frenchman cut a swagger with peaked-shoulder silhouettes and plays on high and low (ripped jeans with a bejeweled jacket) that sometimes teetered on the edge of good taste. Indeed, they were seemingly pulled back from the precipice by their hefty price tags alone. Working alongside the reclusive Decarnin for some of the glory years was the young, outgoing, and media-savvy Olivier Rousteing. Since taking over design responsibilities in 2011, he’s retained some signature silhouettes from Decarnin’s time, while upping the wow-factor both in the garments and on the front row.

Calvin Klein 1999 vs. 2009
Calvin Klein’s Spring 1999 show opened with airy white looks and closed with shots of bright color, which he mixed or used alone in solid strokes. Ease defined this collection, as it did the “King of Clean’s” approach to fashion in general. Klein served up minimalism charged with sexuality, and he had no time for fuss or stiff formality. When Francisco Costa, a Gucci alum, took over, he maintained Klein’s legacy, tweaking it with bits of structure, and in the case of his Spring 2009 collection, Deco touches.

Christopher Kane 2009 vs. 2019
With his debut collection of neon bandage dresses in micro-mini lengths, Christopher Kane established himself as a go-to designer for latter-day sex kittens. By 2009 he had moved onto bigger prey, having rewatched Planet of the Apes, The Flintstones, and One Million Years B.C. A decade on, his collection was informed by nonfiction fare, specifically David Attenborough’s films on the mating behaviors of wildlife, through which he imbued his clothes with some animal magnetism.

Comme des Garçons 2009 vs. 2019
Rei Kawakubo might be an iconoclast, but that doesn’t mean she takes a slash-and-destroy approach to her work. In fact, close observation reveals that the designer mulls over and returns to themes of interest. Kawakubo, noted critic Sarah Mower, “virtually invented black as the noncolor of fashion in the �s,” and for Spring 2009 she took a new look at her signature sooty hue. Shown in a black venue her black clothes were enlightened by towering white wigs (à la Marie Antoinette) and slashes of skin that were visible through the geometric cuts of the garments. These jagged lines (a sort of Frankenstein mash-up of the Charlie Brown zigzag) reappeared 10 years later in a collection centered on psychology. “What I thought of in the end,” Kawakubo said, “was a profoundly internal approach . . . about what’s deep inside.” Here, her cuts seemed to serve as a way out, as escape routes to a hard-earned freedom.

Hermès 1999 vs. 2009
There are many fewer than nine degrees of separation between Martin Margiela and Jean Paul Gaultier. The Belgian worked for the Frenchman before going out on his own Gaultier later became Margiela’s successor at Hermès. Both evolved this heritage house by adding select elements of popular street culture. Margiela’s Spring 1999 collection, for example, was accessorized with house’s first sneaker (!), the Quick, introduced a year earlier. Gaultier paired the maison’s famous and luxurious leathers with a more workaday material, denim, for his Western-themed Spring 2009 show.

Louis Vuitton 2009 vs. 2019
In 1997 Marc Jacobs was tasked with creating a ready-to-wear collection for the famed French leather-goods firm Louis Vuitton. His Spring 2009 collection brought together wide-ranging references, from Africa to 1940s pompadours, all served up with a helping of 1970s decadence. “It’s the coming-together part that gives it its spirit,” mused Jacobs. Nicolas Ghesquière, creative head since 2013, said he took the time “to dig into my obsessions” for his Spring 2019 collection. Foremost among his interests is futurism the �s are a recurrent preoccupation as well, and he combined them in a way that spoke to life in a shattered, image-heavy, digital age.

Marc Jacobs 2009 vs. 2019
Marc Jacobs has racked up mega-miles while time traveling through fashion. His destination for Spring 2019 was the 1980s, with a stopover at the Avenue Marceau atelier of Yves Saint Laurent. Ten years before he had wowed with a many-layered and much celebrated collection into which myriad references could be read. Jacobs, though, was more interested in the bigger picture. “It’s about the joy of dressing up,” he said.

Martin Margiela 1999 vs. 2009
Martin Margiela might be a man of few words—the designer never took a bow or sat for photographers, and he communicated mostly via fax𠅋ut he didn’t shy away from using words in his work. His Spring 1999 collection included a men’s tailleur that read, “That suit is you, sir.” Oh, the irony! Even before that, though, he expressed his AIDS activism through the slogan tees that read: “There’s more action to be taken against AIDS than to wear this T-Shirt but it’s a good start.” Debuting for Fall 1994, they were the highlights of his Spring 2009 show, and they continue to raise money for AIDS research today.

Prada 1999 vs. 2009
Miuccia Prada is constantly upending bougie ideals of femininity. Soon after the company launched a sport line, Linea Rossa, in 1997, the athletic influence made its way into the designer’s Spring 1999 women’s collection, which featured backpacks and fanny packs as well as more utilitarian fabrics. A decade later, Prada dove into the lingerie drawer one more, resulting in suiting with a sensual touch for ladies who launch, not lunch.

Rodarte 2009 vs. 2019
Kate and Laura Mulleavy might have a penchant for Japanese slasher films and a distinct fondness for anything Goth, but they’re romantics at heart. (One of their all-time favorite things to do is visit the roses at the Huntington Botanical Gardens in Pasadena.) Even their apocalyptic Spring 2009 show, peopled by �utiful androids,” closed with chiffon gowns, some with swirling, sculptural, cut-out bodices. The sister’s trademark Gothic romance was back in full force for Spring 2019. Their collection, presented in New York City’s Marble Cemetery, featured models in unabashedly princess-y gowns, crowned, naturally, with flower headdresses.

Yohji Yamamoto 1999 vs. 2009
Black is Yohji Yamamoto’s standby hue, but he’s not wed to it, as evidenced by his several bridal-themed shows. The best known of these is Spring 1999, which featured transmutable outfits, including a nuptial number with a zippered crinoline. �hind the wedding dress there must be many stories,” he mused. For the finale of his Spring 2009 show, Yamamoto presented another white, bell-shaped white dress. This one that swayed around the mast of the model’s body like a sail.


Vogue Runway Did a 10-Year Fashion Challenge: Check Out the Results Here

An archivist’s task is not only to preserve the past, but also to analyze its ebbs and flows. Thanks to the sheer number of Fashion Weeks and the plethora of seasons, to say nothing of trends, fashion can seem mercurial. It’s true that some designers seem to follow the butterfly’s fluttering path, alighting briefly on an idea or look only to move quickly on. Look closer though, and many return to the same flower, as it were, time and time again. This same, cyclical pattern is often repeated at heritage houses, regardless of the rapid rotation of design leads. A creative director’s remit is no longer just about respecting or rejecting the history of the house going back to its founders, but taking into account all of a maison’s histories, past and present.

Inspired by viral #10YearChallenges, we’ve done a fashion version, digging into our deep archives (spanning more than 20 years) to compare and contrast Spring collections from 1999 and 2009, and 2009 and 2019. Enjoy.

Alexander McQueen 1999 vs. 2009
Lee Alexander McQueen was creating Insta-perfect moments long before Facebook existed. One of the most unforgettable of those experiences was the finale of “No.13,” featuring Shalom Harlow on a spinning platform being spray-painted by two robotic arms rented from a car factory. The designer, known for juxtaposing the raw and the refined, here created a confrontation between technology and heritage—this show was presented just before Y2K mania set in. Ten years later, the nature-loving McQueen harnessed technology once again. This time, in the interest of environmentalism, he celebrated nature through digital prints based on things like wood grain and butterfly wings.

Alexander Wang 2009 vs. 2019
This New York wunderkind might be best known for his scruffy dressed-down MOD (model off duty) aesthetic, but there’s a strong streak of athleisure running through his work, too. Call it a case of opposites attracting: The designer, not one for team sports, has consistently borrowed from the sartorial playbooks of football, surf, and, in 2009, boxing. Ten years on, vestiges of his rah-rah sports spirit remain, if now playing second string to a harder, edgier look directed to Insta-girls.

Balmain 2009 vs. 2019
Balmain was once a bastion of conservative couture, but when Christophe Decarnin took over in 2005, the house was more than dusty, it lacked identity, allowing Decarnin to approach the brand as if it were blank page. The Frenchman cut a swagger with peaked-shoulder silhouettes and plays on high and low (ripped jeans with a bejeweled jacket) that sometimes teetered on the edge of good taste. Indeed, they were seemingly pulled back from the precipice by their hefty price tags alone. Working alongside the reclusive Decarnin for some of the glory years was the young, outgoing, and media-savvy Olivier Rousteing. Since taking over design responsibilities in 2011, he’s retained some signature silhouettes from Decarnin’s time, while upping the wow-factor both in the garments and on the front row.

Calvin Klein 1999 vs. 2009
Calvin Klein’s Spring 1999 show opened with airy white looks and closed with shots of bright color, which he mixed or used alone in solid strokes. Ease defined this collection, as it did the “King of Clean’s” approach to fashion in general. Klein served up minimalism charged with sexuality, and he had no time for fuss or stiff formality. When Francisco Costa, a Gucci alum, took over, he maintained Klein’s legacy, tweaking it with bits of structure, and in the case of his Spring 2009 collection, Deco touches.

Christopher Kane 2009 vs. 2019
With his debut collection of neon bandage dresses in micro-mini lengths, Christopher Kane established himself as a go-to designer for latter-day sex kittens. By 2009 he had moved onto bigger prey, having rewatched Planet of the Apes, The Flintstones, and One Million Years B.C. A decade on, his collection was informed by nonfiction fare, specifically David Attenborough’s films on the mating behaviors of wildlife, through which he imbued his clothes with some animal magnetism.

Comme des Garçons 2009 vs. 2019
Rei Kawakubo might be an iconoclast, but that doesn’t mean she takes a slash-and-destroy approach to her work. In fact, close observation reveals that the designer mulls over and returns to themes of interest. Kawakubo, noted critic Sarah Mower, “virtually invented black as the noncolor of fashion in the �s,” and for Spring 2009 she took a new look at her signature sooty hue. Shown in a black venue her black clothes were enlightened by towering white wigs (à la Marie Antoinette) and slashes of skin that were visible through the geometric cuts of the garments. These jagged lines (a sort of Frankenstein mash-up of the Charlie Brown zigzag) reappeared 10 years later in a collection centered on psychology. “What I thought of in the end,” Kawakubo said, “was a profoundly internal approach . . . about what’s deep inside.” Here, her cuts seemed to serve as a way out, as escape routes to a hard-earned freedom.

Hermès 1999 vs. 2009
There are many fewer than nine degrees of separation between Martin Margiela and Jean Paul Gaultier. The Belgian worked for the Frenchman before going out on his own Gaultier later became Margiela’s successor at Hermès. Both evolved this heritage house by adding select elements of popular street culture. Margiela’s Spring 1999 collection, for example, was accessorized with house’s first sneaker (!), the Quick, introduced a year earlier. Gaultier paired the maison’s famous and luxurious leathers with a more workaday material, denim, for his Western-themed Spring 2009 show.

Louis Vuitton 2009 vs. 2019
In 1997 Marc Jacobs was tasked with creating a ready-to-wear collection for the famed French leather-goods firm Louis Vuitton. His Spring 2009 collection brought together wide-ranging references, from Africa to 1940s pompadours, all served up with a helping of 1970s decadence. “It’s the coming-together part that gives it its spirit,” mused Jacobs. Nicolas Ghesquière, creative head since 2013, said he took the time “to dig into my obsessions” for his Spring 2019 collection. Foremost among his interests is futurism the �s are a recurrent preoccupation as well, and he combined them in a way that spoke to life in a shattered, image-heavy, digital age.

Marc Jacobs 2009 vs. 2019
Marc Jacobs has racked up mega-miles while time traveling through fashion. His destination for Spring 2019 was the 1980s, with a stopover at the Avenue Marceau atelier of Yves Saint Laurent. Ten years before he had wowed with a many-layered and much celebrated collection into which myriad references could be read. Jacobs, though, was more interested in the bigger picture. “It’s about the joy of dressing up,” he said.

Martin Margiela 1999 vs. 2009
Martin Margiela might be a man of few words—the designer never took a bow or sat for photographers, and he communicated mostly via fax𠅋ut he didn’t shy away from using words in his work. His Spring 1999 collection included a men’s tailleur that read, “That suit is you, sir.” Oh, the irony! Even before that, though, he expressed his AIDS activism through the slogan tees that read: “There’s more action to be taken against AIDS than to wear this T-Shirt but it’s a good start.” Debuting for Fall 1994, they were the highlights of his Spring 2009 show, and they continue to raise money for AIDS research today.

Prada 1999 vs. 2009
Miuccia Prada is constantly upending bougie ideals of femininity. Soon after the company launched a sport line, Linea Rossa, in 1997, the athletic influence made its way into the designer’s Spring 1999 women’s collection, which featured backpacks and fanny packs as well as more utilitarian fabrics. A decade later, Prada dove into the lingerie drawer one more, resulting in suiting with a sensual touch for ladies who launch, not lunch.

Rodarte 2009 vs. 2019
Kate and Laura Mulleavy might have a penchant for Japanese slasher films and a distinct fondness for anything Goth, but they’re romantics at heart. (One of their all-time favorite things to do is visit the roses at the Huntington Botanical Gardens in Pasadena.) Even their apocalyptic Spring 2009 show, peopled by �utiful androids,” closed with chiffon gowns, some with swirling, sculptural, cut-out bodices. The sister’s trademark Gothic romance was back in full force for Spring 2019. Their collection, presented in New York City’s Marble Cemetery, featured models in unabashedly princess-y gowns, crowned, naturally, with flower headdresses.

Yohji Yamamoto 1999 vs. 2009
Black is Yohji Yamamoto’s standby hue, but he’s not wed to it, as evidenced by his several bridal-themed shows. The best known of these is Spring 1999, which featured transmutable outfits, including a nuptial number with a zippered crinoline. �hind the wedding dress there must be many stories,” he mused. For the finale of his Spring 2009 show, Yamamoto presented another white, bell-shaped white dress. This one that swayed around the mast of the model’s body like a sail.


Vogue Runway Did a 10-Year Fashion Challenge: Check Out the Results Here

An archivist’s task is not only to preserve the past, but also to analyze its ebbs and flows. Thanks to the sheer number of Fashion Weeks and the plethora of seasons, to say nothing of trends, fashion can seem mercurial. It’s true that some designers seem to follow the butterfly’s fluttering path, alighting briefly on an idea or look only to move quickly on. Look closer though, and many return to the same flower, as it were, time and time again. This same, cyclical pattern is often repeated at heritage houses, regardless of the rapid rotation of design leads. A creative director’s remit is no longer just about respecting or rejecting the history of the house going back to its founders, but taking into account all of a maison’s histories, past and present.

Inspired by viral #10YearChallenges, we’ve done a fashion version, digging into our deep archives (spanning more than 20 years) to compare and contrast Spring collections from 1999 and 2009, and 2009 and 2019. Enjoy.

Alexander McQueen 1999 vs. 2009
Lee Alexander McQueen was creating Insta-perfect moments long before Facebook existed. One of the most unforgettable of those experiences was the finale of “No.13,” featuring Shalom Harlow on a spinning platform being spray-painted by two robotic arms rented from a car factory. The designer, known for juxtaposing the raw and the refined, here created a confrontation between technology and heritage—this show was presented just before Y2K mania set in. Ten years later, the nature-loving McQueen harnessed technology once again. This time, in the interest of environmentalism, he celebrated nature through digital prints based on things like wood grain and butterfly wings.

Alexander Wang 2009 vs. 2019
This New York wunderkind might be best known for his scruffy dressed-down MOD (model off duty) aesthetic, but there’s a strong streak of athleisure running through his work, too. Call it a case of opposites attracting: The designer, not one for team sports, has consistently borrowed from the sartorial playbooks of football, surf, and, in 2009, boxing. Ten years on, vestiges of his rah-rah sports spirit remain, if now playing second string to a harder, edgier look directed to Insta-girls.

Balmain 2009 vs. 2019
Balmain was once a bastion of conservative couture, but when Christophe Decarnin took over in 2005, the house was more than dusty, it lacked identity, allowing Decarnin to approach the brand as if it were blank page. The Frenchman cut a swagger with peaked-shoulder silhouettes and plays on high and low (ripped jeans with a bejeweled jacket) that sometimes teetered on the edge of good taste. Indeed, they were seemingly pulled back from the precipice by their hefty price tags alone. Working alongside the reclusive Decarnin for some of the glory years was the young, outgoing, and media-savvy Olivier Rousteing. Since taking over design responsibilities in 2011, he’s retained some signature silhouettes from Decarnin’s time, while upping the wow-factor both in the garments and on the front row.

Calvin Klein 1999 vs. 2009
Calvin Klein’s Spring 1999 show opened with airy white looks and closed with shots of bright color, which he mixed or used alone in solid strokes. Ease defined this collection, as it did the “King of Clean’s” approach to fashion in general. Klein served up minimalism charged with sexuality, and he had no time for fuss or stiff formality. When Francisco Costa, a Gucci alum, took over, he maintained Klein’s legacy, tweaking it with bits of structure, and in the case of his Spring 2009 collection, Deco touches.

Christopher Kane 2009 vs. 2019
With his debut collection of neon bandage dresses in micro-mini lengths, Christopher Kane established himself as a go-to designer for latter-day sex kittens. By 2009 he had moved onto bigger prey, having rewatched Planet of the Apes, The Flintstones, and One Million Years B.C. A decade on, his collection was informed by nonfiction fare, specifically David Attenborough’s films on the mating behaviors of wildlife, through which he imbued his clothes with some animal magnetism.

Comme des Garçons 2009 vs. 2019
Rei Kawakubo might be an iconoclast, but that doesn’t mean she takes a slash-and-destroy approach to her work. In fact, close observation reveals that the designer mulls over and returns to themes of interest. Kawakubo, noted critic Sarah Mower, “virtually invented black as the noncolor of fashion in the �s,” and for Spring 2009 she took a new look at her signature sooty hue. Shown in a black venue her black clothes were enlightened by towering white wigs (à la Marie Antoinette) and slashes of skin that were visible through the geometric cuts of the garments. These jagged lines (a sort of Frankenstein mash-up of the Charlie Brown zigzag) reappeared 10 years later in a collection centered on psychology. “What I thought of in the end,” Kawakubo said, “was a profoundly internal approach . . . about what’s deep inside.” Here, her cuts seemed to serve as a way out, as escape routes to a hard-earned freedom.

Hermès 1999 vs. 2009
There are many fewer than nine degrees of separation between Martin Margiela and Jean Paul Gaultier. The Belgian worked for the Frenchman before going out on his own Gaultier later became Margiela’s successor at Hermès. Both evolved this heritage house by adding select elements of popular street culture. Margiela’s Spring 1999 collection, for example, was accessorized with house’s first sneaker (!), the Quick, introduced a year earlier. Gaultier paired the maison’s famous and luxurious leathers with a more workaday material, denim, for his Western-themed Spring 2009 show.

Louis Vuitton 2009 vs. 2019
In 1997 Marc Jacobs was tasked with creating a ready-to-wear collection for the famed French leather-goods firm Louis Vuitton. His Spring 2009 collection brought together wide-ranging references, from Africa to 1940s pompadours, all served up with a helping of 1970s decadence. “It’s the coming-together part that gives it its spirit,” mused Jacobs. Nicolas Ghesquière, creative head since 2013, said he took the time “to dig into my obsessions” for his Spring 2019 collection. Foremost among his interests is futurism the �s are a recurrent preoccupation as well, and he combined them in a way that spoke to life in a shattered, image-heavy, digital age.

Marc Jacobs 2009 vs. 2019
Marc Jacobs has racked up mega-miles while time traveling through fashion. His destination for Spring 2019 was the 1980s, with a stopover at the Avenue Marceau atelier of Yves Saint Laurent. Ten years before he had wowed with a many-layered and much celebrated collection into which myriad references could be read. Jacobs, though, was more interested in the bigger picture. “It’s about the joy of dressing up,” he said.

Martin Margiela 1999 vs. 2009
Martin Margiela might be a man of few words—the designer never took a bow or sat for photographers, and he communicated mostly via fax𠅋ut he didn’t shy away from using words in his work. His Spring 1999 collection included a men’s tailleur that read, “That suit is you, sir.” Oh, the irony! Even before that, though, he expressed his AIDS activism through the slogan tees that read: “There’s more action to be taken against AIDS than to wear this T-Shirt but it’s a good start.” Debuting for Fall 1994, they were the highlights of his Spring 2009 show, and they continue to raise money for AIDS research today.

Prada 1999 vs. 2009
Miuccia Prada is constantly upending bougie ideals of femininity. Soon after the company launched a sport line, Linea Rossa, in 1997, the athletic influence made its way into the designer’s Spring 1999 women’s collection, which featured backpacks and fanny packs as well as more utilitarian fabrics. A decade later, Prada dove into the lingerie drawer one more, resulting in suiting with a sensual touch for ladies who launch, not lunch.

Rodarte 2009 vs. 2019
Kate and Laura Mulleavy might have a penchant for Japanese slasher films and a distinct fondness for anything Goth, but they’re romantics at heart. (One of their all-time favorite things to do is visit the roses at the Huntington Botanical Gardens in Pasadena.) Even their apocalyptic Spring 2009 show, peopled by �utiful androids,” closed with chiffon gowns, some with swirling, sculptural, cut-out bodices. The sister’s trademark Gothic romance was back in full force for Spring 2019. Their collection, presented in New York City’s Marble Cemetery, featured models in unabashedly princess-y gowns, crowned, naturally, with flower headdresses.

Yohji Yamamoto 1999 vs. 2009
Black is Yohji Yamamoto’s standby hue, but he’s not wed to it, as evidenced by his several bridal-themed shows. The best known of these is Spring 1999, which featured transmutable outfits, including a nuptial number with a zippered crinoline. �hind the wedding dress there must be many stories,” he mused. For the finale of his Spring 2009 show, Yamamoto presented another white, bell-shaped white dress. This one that swayed around the mast of the model’s body like a sail.


Vogue Runway Did a 10-Year Fashion Challenge: Check Out the Results Here

An archivist’s task is not only to preserve the past, but also to analyze its ebbs and flows. Thanks to the sheer number of Fashion Weeks and the plethora of seasons, to say nothing of trends, fashion can seem mercurial. It’s true that some designers seem to follow the butterfly’s fluttering path, alighting briefly on an idea or look only to move quickly on. Look closer though, and many return to the same flower, as it were, time and time again. This same, cyclical pattern is often repeated at heritage houses, regardless of the rapid rotation of design leads. A creative director’s remit is no longer just about respecting or rejecting the history of the house going back to its founders, but taking into account all of a maison’s histories, past and present.

Inspired by viral #10YearChallenges, we’ve done a fashion version, digging into our deep archives (spanning more than 20 years) to compare and contrast Spring collections from 1999 and 2009, and 2009 and 2019. Enjoy.

Alexander McQueen 1999 vs. 2009
Lee Alexander McQueen was creating Insta-perfect moments long before Facebook existed. One of the most unforgettable of those experiences was the finale of “No.13,” featuring Shalom Harlow on a spinning platform being spray-painted by two robotic arms rented from a car factory. The designer, known for juxtaposing the raw and the refined, here created a confrontation between technology and heritage—this show was presented just before Y2K mania set in. Ten years later, the nature-loving McQueen harnessed technology once again. This time, in the interest of environmentalism, he celebrated nature through digital prints based on things like wood grain and butterfly wings.

Alexander Wang 2009 vs. 2019
This New York wunderkind might be best known for his scruffy dressed-down MOD (model off duty) aesthetic, but there’s a strong streak of athleisure running through his work, too. Call it a case of opposites attracting: The designer, not one for team sports, has consistently borrowed from the sartorial playbooks of football, surf, and, in 2009, boxing. Ten years on, vestiges of his rah-rah sports spirit remain, if now playing second string to a harder, edgier look directed to Insta-girls.

Balmain 2009 vs. 2019
Balmain was once a bastion of conservative couture, but when Christophe Decarnin took over in 2005, the house was more than dusty, it lacked identity, allowing Decarnin to approach the brand as if it were blank page. The Frenchman cut a swagger with peaked-shoulder silhouettes and plays on high and low (ripped jeans with a bejeweled jacket) that sometimes teetered on the edge of good taste. Indeed, they were seemingly pulled back from the precipice by their hefty price tags alone. Working alongside the reclusive Decarnin for some of the glory years was the young, outgoing, and media-savvy Olivier Rousteing. Since taking over design responsibilities in 2011, he’s retained some signature silhouettes from Decarnin’s time, while upping the wow-factor both in the garments and on the front row.

Calvin Klein 1999 vs. 2009
Calvin Klein’s Spring 1999 show opened with airy white looks and closed with shots of bright color, which he mixed or used alone in solid strokes. Ease defined this collection, as it did the “King of Clean’s” approach to fashion in general. Klein served up minimalism charged with sexuality, and he had no time for fuss or stiff formality. When Francisco Costa, a Gucci alum, took over, he maintained Klein’s legacy, tweaking it with bits of structure, and in the case of his Spring 2009 collection, Deco touches.

Christopher Kane 2009 vs. 2019
With his debut collection of neon bandage dresses in micro-mini lengths, Christopher Kane established himself as a go-to designer for latter-day sex kittens. By 2009 he had moved onto bigger prey, having rewatched Planet of the Apes, The Flintstones, and One Million Years B.C. A decade on, his collection was informed by nonfiction fare, specifically David Attenborough’s films on the mating behaviors of wildlife, through which he imbued his clothes with some animal magnetism.

Comme des Garçons 2009 vs. 2019
Rei Kawakubo might be an iconoclast, but that doesn’t mean she takes a slash-and-destroy approach to her work. In fact, close observation reveals that the designer mulls over and returns to themes of interest. Kawakubo, noted critic Sarah Mower, “virtually invented black as the noncolor of fashion in the �s,” and for Spring 2009 she took a new look at her signature sooty hue. Shown in a black venue her black clothes were enlightened by towering white wigs (à la Marie Antoinette) and slashes of skin that were visible through the geometric cuts of the garments. These jagged lines (a sort of Frankenstein mash-up of the Charlie Brown zigzag) reappeared 10 years later in a collection centered on psychology. “What I thought of in the end,” Kawakubo said, “was a profoundly internal approach . . . about what’s deep inside.” Here, her cuts seemed to serve as a way out, as escape routes to a hard-earned freedom.

Hermès 1999 vs. 2009
There are many fewer than nine degrees of separation between Martin Margiela and Jean Paul Gaultier. The Belgian worked for the Frenchman before going out on his own Gaultier later became Margiela’s successor at Hermès. Both evolved this heritage house by adding select elements of popular street culture. Margiela’s Spring 1999 collection, for example, was accessorized with house’s first sneaker (!), the Quick, introduced a year earlier. Gaultier paired the maison’s famous and luxurious leathers with a more workaday material, denim, for his Western-themed Spring 2009 show.

Louis Vuitton 2009 vs. 2019
In 1997 Marc Jacobs was tasked with creating a ready-to-wear collection for the famed French leather-goods firm Louis Vuitton. His Spring 2009 collection brought together wide-ranging references, from Africa to 1940s pompadours, all served up with a helping of 1970s decadence. “It’s the coming-together part that gives it its spirit,” mused Jacobs. Nicolas Ghesquière, creative head since 2013, said he took the time “to dig into my obsessions” for his Spring 2019 collection. Foremost among his interests is futurism the �s are a recurrent preoccupation as well, and he combined them in a way that spoke to life in a shattered, image-heavy, digital age.

Marc Jacobs 2009 vs. 2019
Marc Jacobs has racked up mega-miles while time traveling through fashion. His destination for Spring 2019 was the 1980s, with a stopover at the Avenue Marceau atelier of Yves Saint Laurent. Ten years before he had wowed with a many-layered and much celebrated collection into which myriad references could be read. Jacobs, though, was more interested in the bigger picture. “It’s about the joy of dressing up,” he said.

Martin Margiela 1999 vs. 2009
Martin Margiela might be a man of few words—the designer never took a bow or sat for photographers, and he communicated mostly via fax𠅋ut he didn’t shy away from using words in his work. His Spring 1999 collection included a men’s tailleur that read, “That suit is you, sir.” Oh, the irony! Even before that, though, he expressed his AIDS activism through the slogan tees that read: “There’s more action to be taken against AIDS than to wear this T-Shirt but it’s a good start.” Debuting for Fall 1994, they were the highlights of his Spring 2009 show, and they continue to raise money for AIDS research today.

Prada 1999 vs. 2009
Miuccia Prada is constantly upending bougie ideals of femininity. Soon after the company launched a sport line, Linea Rossa, in 1997, the athletic influence made its way into the designer’s Spring 1999 women’s collection, which featured backpacks and fanny packs as well as more utilitarian fabrics. A decade later, Prada dove into the lingerie drawer one more, resulting in suiting with a sensual touch for ladies who launch, not lunch.

Rodarte 2009 vs. 2019
Kate and Laura Mulleavy might have a penchant for Japanese slasher films and a distinct fondness for anything Goth, but they’re romantics at heart. (One of their all-time favorite things to do is visit the roses at the Huntington Botanical Gardens in Pasadena.) Even their apocalyptic Spring 2009 show, peopled by �utiful androids,” closed with chiffon gowns, some with swirling, sculptural, cut-out bodices. The sister’s trademark Gothic romance was back in full force for Spring 2019. Their collection, presented in New York City’s Marble Cemetery, featured models in unabashedly princess-y gowns, crowned, naturally, with flower headdresses.

Yohji Yamamoto 1999 vs. 2009
Black is Yohji Yamamoto’s standby hue, but he’s not wed to it, as evidenced by his several bridal-themed shows. The best known of these is Spring 1999, which featured transmutable outfits, including a nuptial number with a zippered crinoline. �hind the wedding dress there must be many stories,” he mused. For the finale of his Spring 2009 show, Yamamoto presented another white, bell-shaped white dress. This one that swayed around the mast of the model’s body like a sail.


Vogue Runway Did a 10-Year Fashion Challenge: Check Out the Results Here

An archivist’s task is not only to preserve the past, but also to analyze its ebbs and flows. Thanks to the sheer number of Fashion Weeks and the plethora of seasons, to say nothing of trends, fashion can seem mercurial. It’s true that some designers seem to follow the butterfly’s fluttering path, alighting briefly on an idea or look only to move quickly on. Look closer though, and many return to the same flower, as it were, time and time again. This same, cyclical pattern is often repeated at heritage houses, regardless of the rapid rotation of design leads. A creative director’s remit is no longer just about respecting or rejecting the history of the house going back to its founders, but taking into account all of a maison’s histories, past and present.

Inspired by viral #10YearChallenges, we’ve done a fashion version, digging into our deep archives (spanning more than 20 years) to compare and contrast Spring collections from 1999 and 2009, and 2009 and 2019. Enjoy.

Alexander McQueen 1999 vs. 2009
Lee Alexander McQueen was creating Insta-perfect moments long before Facebook existed. One of the most unforgettable of those experiences was the finale of “No.13,” featuring Shalom Harlow on a spinning platform being spray-painted by two robotic arms rented from a car factory. The designer, known for juxtaposing the raw and the refined, here created a confrontation between technology and heritage—this show was presented just before Y2K mania set in. Ten years later, the nature-loving McQueen harnessed technology once again. This time, in the interest of environmentalism, he celebrated nature through digital prints based on things like wood grain and butterfly wings.

Alexander Wang 2009 vs. 2019
This New York wunderkind might be best known for his scruffy dressed-down MOD (model off duty) aesthetic, but there’s a strong streak of athleisure running through his work, too. Call it a case of opposites attracting: The designer, not one for team sports, has consistently borrowed from the sartorial playbooks of football, surf, and, in 2009, boxing. Ten years on, vestiges of his rah-rah sports spirit remain, if now playing second string to a harder, edgier look directed to Insta-girls.

Balmain 2009 vs. 2019
Balmain was once a bastion of conservative couture, but when Christophe Decarnin took over in 2005, the house was more than dusty, it lacked identity, allowing Decarnin to approach the brand as if it were blank page. The Frenchman cut a swagger with peaked-shoulder silhouettes and plays on high and low (ripped jeans with a bejeweled jacket) that sometimes teetered on the edge of good taste. Indeed, they were seemingly pulled back from the precipice by their hefty price tags alone. Working alongside the reclusive Decarnin for some of the glory years was the young, outgoing, and media-savvy Olivier Rousteing. Since taking over design responsibilities in 2011, he’s retained some signature silhouettes from Decarnin’s time, while upping the wow-factor both in the garments and on the front row.

Calvin Klein 1999 vs. 2009
Calvin Klein’s Spring 1999 show opened with airy white looks and closed with shots of bright color, which he mixed or used alone in solid strokes. Ease defined this collection, as it did the “King of Clean’s” approach to fashion in general. Klein served up minimalism charged with sexuality, and he had no time for fuss or stiff formality. When Francisco Costa, a Gucci alum, took over, he maintained Klein’s legacy, tweaking it with bits of structure, and in the case of his Spring 2009 collection, Deco touches.

Christopher Kane 2009 vs. 2019
With his debut collection of neon bandage dresses in micro-mini lengths, Christopher Kane established himself as a go-to designer for latter-day sex kittens. By 2009 he had moved onto bigger prey, having rewatched Planet of the Apes, The Flintstones, and One Million Years B.C. A decade on, his collection was informed by nonfiction fare, specifically David Attenborough’s films on the mating behaviors of wildlife, through which he imbued his clothes with some animal magnetism.

Comme des Garçons 2009 vs. 2019
Rei Kawakubo might be an iconoclast, but that doesn’t mean she takes a slash-and-destroy approach to her work. In fact, close observation reveals that the designer mulls over and returns to themes of interest. Kawakubo, noted critic Sarah Mower, “virtually invented black as the noncolor of fashion in the �s,” and for Spring 2009 she took a new look at her signature sooty hue. Shown in a black venue her black clothes were enlightened by towering white wigs (à la Marie Antoinette) and slashes of skin that were visible through the geometric cuts of the garments. These jagged lines (a sort of Frankenstein mash-up of the Charlie Brown zigzag) reappeared 10 years later in a collection centered on psychology. “What I thought of in the end,” Kawakubo said, “was a profoundly internal approach . . . about what’s deep inside.” Here, her cuts seemed to serve as a way out, as escape routes to a hard-earned freedom.

Hermès 1999 vs. 2009
There are many fewer than nine degrees of separation between Martin Margiela and Jean Paul Gaultier. The Belgian worked for the Frenchman before going out on his own Gaultier later became Margiela’s successor at Hermès. Both evolved this heritage house by adding select elements of popular street culture. Margiela’s Spring 1999 collection, for example, was accessorized with house’s first sneaker (!), the Quick, introduced a year earlier. Gaultier paired the maison’s famous and luxurious leathers with a more workaday material, denim, for his Western-themed Spring 2009 show.

Louis Vuitton 2009 vs. 2019
In 1997 Marc Jacobs was tasked with creating a ready-to-wear collection for the famed French leather-goods firm Louis Vuitton. His Spring 2009 collection brought together wide-ranging references, from Africa to 1940s pompadours, all served up with a helping of 1970s decadence. “It’s the coming-together part that gives it its spirit,” mused Jacobs. Nicolas Ghesquière, creative head since 2013, said he took the time “to dig into my obsessions” for his Spring 2019 collection. Foremost among his interests is futurism the �s are a recurrent preoccupation as well, and he combined them in a way that spoke to life in a shattered, image-heavy, digital age.

Marc Jacobs 2009 vs. 2019
Marc Jacobs has racked up mega-miles while time traveling through fashion. His destination for Spring 2019 was the 1980s, with a stopover at the Avenue Marceau atelier of Yves Saint Laurent. Ten years before he had wowed with a many-layered and much celebrated collection into which myriad references could be read. Jacobs, though, was more interested in the bigger picture. “It’s about the joy of dressing up,” he said.

Martin Margiela 1999 vs. 2009
Martin Margiela might be a man of few words—the designer never took a bow or sat for photographers, and he communicated mostly via fax𠅋ut he didn’t shy away from using words in his work. His Spring 1999 collection included a men’s tailleur that read, “That suit is you, sir.” Oh, the irony! Even before that, though, he expressed his AIDS activism through the slogan tees that read: “There’s more action to be taken against AIDS than to wear this T-Shirt but it’s a good start.” Debuting for Fall 1994, they were the highlights of his Spring 2009 show, and they continue to raise money for AIDS research today.

Prada 1999 vs. 2009
Miuccia Prada is constantly upending bougie ideals of femininity. Soon after the company launched a sport line, Linea Rossa, in 1997, the athletic influence made its way into the designer’s Spring 1999 women’s collection, which featured backpacks and fanny packs as well as more utilitarian fabrics. A decade later, Prada dove into the lingerie drawer one more, resulting in suiting with a sensual touch for ladies who launch, not lunch.

Rodarte 2009 vs. 2019
Kate and Laura Mulleavy might have a penchant for Japanese slasher films and a distinct fondness for anything Goth, but they’re romantics at heart. (One of their all-time favorite things to do is visit the roses at the Huntington Botanical Gardens in Pasadena.) Even their apocalyptic Spring 2009 show, peopled by �utiful androids,” closed with chiffon gowns, some with swirling, sculptural, cut-out bodices. The sister’s trademark Gothic romance was back in full force for Spring 2019. Their collection, presented in New York City’s Marble Cemetery, featured models in unabashedly princess-y gowns, crowned, naturally, with flower headdresses.

Yohji Yamamoto 1999 vs. 2009
Black is Yohji Yamamoto’s standby hue, but he’s not wed to it, as evidenced by his several bridal-themed shows. The best known of these is Spring 1999, which featured transmutable outfits, including a nuptial number with a zippered crinoline. �hind the wedding dress there must be many stories,” he mused. For the finale of his Spring 2009 show, Yamamoto presented another white, bell-shaped white dress. This one that swayed around the mast of the model’s body like a sail.


Vogue Runway Did a 10-Year Fashion Challenge: Check Out the Results Here

An archivist’s task is not only to preserve the past, but also to analyze its ebbs and flows. Thanks to the sheer number of Fashion Weeks and the plethora of seasons, to say nothing of trends, fashion can seem mercurial. It’s true that some designers seem to follow the butterfly’s fluttering path, alighting briefly on an idea or look only to move quickly on. Look closer though, and many return to the same flower, as it were, time and time again. This same, cyclical pattern is often repeated at heritage houses, regardless of the rapid rotation of design leads. A creative director’s remit is no longer just about respecting or rejecting the history of the house going back to its founders, but taking into account all of a maison’s histories, past and present.

Inspired by viral #10YearChallenges, we’ve done a fashion version, digging into our deep archives (spanning more than 20 years) to compare and contrast Spring collections from 1999 and 2009, and 2009 and 2019. Enjoy.

Alexander McQueen 1999 vs. 2009
Lee Alexander McQueen was creating Insta-perfect moments long before Facebook existed. One of the most unforgettable of those experiences was the finale of “No.13,” featuring Shalom Harlow on a spinning platform being spray-painted by two robotic arms rented from a car factory. The designer, known for juxtaposing the raw and the refined, here created a confrontation between technology and heritage—this show was presented just before Y2K mania set in. Ten years later, the nature-loving McQueen harnessed technology once again. This time, in the interest of environmentalism, he celebrated nature through digital prints based on things like wood grain and butterfly wings.

Alexander Wang 2009 vs. 2019
This New York wunderkind might be best known for his scruffy dressed-down MOD (model off duty) aesthetic, but there’s a strong streak of athleisure running through his work, too. Call it a case of opposites attracting: The designer, not one for team sports, has consistently borrowed from the sartorial playbooks of football, surf, and, in 2009, boxing. Ten years on, vestiges of his rah-rah sports spirit remain, if now playing second string to a harder, edgier look directed to Insta-girls.

Balmain 2009 vs. 2019
Balmain was once a bastion of conservative couture, but when Christophe Decarnin took over in 2005, the house was more than dusty, it lacked identity, allowing Decarnin to approach the brand as if it were blank page. The Frenchman cut a swagger with peaked-shoulder silhouettes and plays on high and low (ripped jeans with a bejeweled jacket) that sometimes teetered on the edge of good taste. Indeed, they were seemingly pulled back from the precipice by their hefty price tags alone. Working alongside the reclusive Decarnin for some of the glory years was the young, outgoing, and media-savvy Olivier Rousteing. Since taking over design responsibilities in 2011, he’s retained some signature silhouettes from Decarnin’s time, while upping the wow-factor both in the garments and on the front row.

Calvin Klein 1999 vs. 2009
Calvin Klein’s Spring 1999 show opened with airy white looks and closed with shots of bright color, which he mixed or used alone in solid strokes. Ease defined this collection, as it did the “King of Clean’s” approach to fashion in general. Klein served up minimalism charged with sexuality, and he had no time for fuss or stiff formality. When Francisco Costa, a Gucci alum, took over, he maintained Klein’s legacy, tweaking it with bits of structure, and in the case of his Spring 2009 collection, Deco touches.

Christopher Kane 2009 vs. 2019
With his debut collection of neon bandage dresses in micro-mini lengths, Christopher Kane established himself as a go-to designer for latter-day sex kittens. By 2009 he had moved onto bigger prey, having rewatched Planet of the Apes, The Flintstones, and One Million Years B.C. A decade on, his collection was informed by nonfiction fare, specifically David Attenborough’s films on the mating behaviors of wildlife, through which he imbued his clothes with some animal magnetism.

Comme des Garçons 2009 vs. 2019
Rei Kawakubo might be an iconoclast, but that doesn’t mean she takes a slash-and-destroy approach to her work. In fact, close observation reveals that the designer mulls over and returns to themes of interest. Kawakubo, noted critic Sarah Mower, “virtually invented black as the noncolor of fashion in the �s,” and for Spring 2009 she took a new look at her signature sooty hue. Shown in a black venue her black clothes were enlightened by towering white wigs (à la Marie Antoinette) and slashes of skin that were visible through the geometric cuts of the garments. These jagged lines (a sort of Frankenstein mash-up of the Charlie Brown zigzag) reappeared 10 years later in a collection centered on psychology. “What I thought of in the end,” Kawakubo said, “was a profoundly internal approach . . . about what’s deep inside.” Here, her cuts seemed to serve as a way out, as escape routes to a hard-earned freedom.

Hermès 1999 vs. 2009
There are many fewer than nine degrees of separation between Martin Margiela and Jean Paul Gaultier. The Belgian worked for the Frenchman before going out on his own Gaultier later became Margiela’s successor at Hermès. Both evolved this heritage house by adding select elements of popular street culture. Margiela’s Spring 1999 collection, for example, was accessorized with house’s first sneaker (!), the Quick, introduced a year earlier. Gaultier paired the maison’s famous and luxurious leathers with a more workaday material, denim, for his Western-themed Spring 2009 show.

Louis Vuitton 2009 vs. 2019
In 1997 Marc Jacobs was tasked with creating a ready-to-wear collection for the famed French leather-goods firm Louis Vuitton. His Spring 2009 collection brought together wide-ranging references, from Africa to 1940s pompadours, all served up with a helping of 1970s decadence. “It’s the coming-together part that gives it its spirit,” mused Jacobs. Nicolas Ghesquière, creative head since 2013, said he took the time “to dig into my obsessions” for his Spring 2019 collection. Foremost among his interests is futurism the �s are a recurrent preoccupation as well, and he combined them in a way that spoke to life in a shattered, image-heavy, digital age.

Marc Jacobs 2009 vs. 2019
Marc Jacobs has racked up mega-miles while time traveling through fashion. His destination for Spring 2019 was the 1980s, with a stopover at the Avenue Marceau atelier of Yves Saint Laurent. Ten years before he had wowed with a many-layered and much celebrated collection into which myriad references could be read. Jacobs, though, was more interested in the bigger picture. “It’s about the joy of dressing up,” he said.

Martin Margiela 1999 vs. 2009
Martin Margiela might be a man of few words—the designer never took a bow or sat for photographers, and he communicated mostly via fax𠅋ut he didn’t shy away from using words in his work. His Spring 1999 collection included a men’s tailleur that read, “That suit is you, sir.” Oh, the irony! Even before that, though, he expressed his AIDS activism through the slogan tees that read: “There’s more action to be taken against AIDS than to wear this T-Shirt but it’s a good start.” Debuting for Fall 1994, they were the highlights of his Spring 2009 show, and they continue to raise money for AIDS research today.

Prada 1999 vs. 2009
Miuccia Prada is constantly upending bougie ideals of femininity. Soon after the company launched a sport line, Linea Rossa, in 1997, the athletic influence made its way into the designer’s Spring 1999 women’s collection, which featured backpacks and fanny packs as well as more utilitarian fabrics. A decade later, Prada dove into the lingerie drawer one more, resulting in suiting with a sensual touch for ladies who launch, not lunch.

Rodarte 2009 vs. 2019
Kate and Laura Mulleavy might have a penchant for Japanese slasher films and a distinct fondness for anything Goth, but they’re romantics at heart. (One of their all-time favorite things to do is visit the roses at the Huntington Botanical Gardens in Pasadena.) Even their apocalyptic Spring 2009 show, peopled by �utiful androids,” closed with chiffon gowns, some with swirling, sculptural, cut-out bodices. The sister’s trademark Gothic romance was back in full force for Spring 2019. Their collection, presented in New York City’s Marble Cemetery, featured models in unabashedly princess-y gowns, crowned, naturally, with flower headdresses.

Yohji Yamamoto 1999 vs. 2009
Black is Yohji Yamamoto’s standby hue, but he’s not wed to it, as evidenced by his several bridal-themed shows. The best known of these is Spring 1999, which featured transmutable outfits, including a nuptial number with a zippered crinoline. �hind the wedding dress there must be many stories,” he mused. For the finale of his Spring 2009 show, Yamamoto presented another white, bell-shaped white dress. This one that swayed around the mast of the model’s body like a sail.


Vogue Runway Did a 10-Year Fashion Challenge: Check Out the Results Here

An archivist’s task is not only to preserve the past, but also to analyze its ebbs and flows. Thanks to the sheer number of Fashion Weeks and the plethora of seasons, to say nothing of trends, fashion can seem mercurial. It’s true that some designers seem to follow the butterfly’s fluttering path, alighting briefly on an idea or look only to move quickly on. Look closer though, and many return to the same flower, as it were, time and time again. This same, cyclical pattern is often repeated at heritage houses, regardless of the rapid rotation of design leads. A creative director’s remit is no longer just about respecting or rejecting the history of the house going back to its founders, but taking into account all of a maison’s histories, past and present.

Inspired by viral #10YearChallenges, we’ve done a fashion version, digging into our deep archives (spanning more than 20 years) to compare and contrast Spring collections from 1999 and 2009, and 2009 and 2019. Enjoy.

Alexander McQueen 1999 vs. 2009
Lee Alexander McQueen was creating Insta-perfect moments long before Facebook existed. One of the most unforgettable of those experiences was the finale of “No.13,” featuring Shalom Harlow on a spinning platform being spray-painted by two robotic arms rented from a car factory. The designer, known for juxtaposing the raw and the refined, here created a confrontation between technology and heritage—this show was presented just before Y2K mania set in. Ten years later, the nature-loving McQueen harnessed technology once again. This time, in the interest of environmentalism, he celebrated nature through digital prints based on things like wood grain and butterfly wings.

Alexander Wang 2009 vs. 2019
This New York wunderkind might be best known for his scruffy dressed-down MOD (model off duty) aesthetic, but there’s a strong streak of athleisure running through his work, too. Call it a case of opposites attracting: The designer, not one for team sports, has consistently borrowed from the sartorial playbooks of football, surf, and, in 2009, boxing. Ten years on, vestiges of his rah-rah sports spirit remain, if now playing second string to a harder, edgier look directed to Insta-girls.

Balmain 2009 vs. 2019
Balmain was once a bastion of conservative couture, but when Christophe Decarnin took over in 2005, the house was more than dusty, it lacked identity, allowing Decarnin to approach the brand as if it were blank page. The Frenchman cut a swagger with peaked-shoulder silhouettes and plays on high and low (ripped jeans with a bejeweled jacket) that sometimes teetered on the edge of good taste. Indeed, they were seemingly pulled back from the precipice by their hefty price tags alone. Working alongside the reclusive Decarnin for some of the glory years was the young, outgoing, and media-savvy Olivier Rousteing. Since taking over design responsibilities in 2011, he’s retained some signature silhouettes from Decarnin’s time, while upping the wow-factor both in the garments and on the front row.

Calvin Klein 1999 vs. 2009
Calvin Klein’s Spring 1999 show opened with airy white looks and closed with shots of bright color, which he mixed or used alone in solid strokes. Ease defined this collection, as it did the “King of Clean’s” approach to fashion in general. Klein served up minimalism charged with sexuality, and he had no time for fuss or stiff formality. When Francisco Costa, a Gucci alum, took over, he maintained Klein’s legacy, tweaking it with bits of structure, and in the case of his Spring 2009 collection, Deco touches.

Christopher Kane 2009 vs. 2019
With his debut collection of neon bandage dresses in micro-mini lengths, Christopher Kane established himself as a go-to designer for latter-day sex kittens. By 2009 he had moved onto bigger prey, having rewatched Planet of the Apes, The Flintstones, and One Million Years B.C. A decade on, his collection was informed by nonfiction fare, specifically David Attenborough’s films on the mating behaviors of wildlife, through which he imbued his clothes with some animal magnetism.

Comme des Garçons 2009 vs. 2019
Rei Kawakubo might be an iconoclast, but that doesn’t mean she takes a slash-and-destroy approach to her work. In fact, close observation reveals that the designer mulls over and returns to themes of interest. Kawakubo, noted critic Sarah Mower, “virtually invented black as the noncolor of fashion in the �s,” and for Spring 2009 she took a new look at her signature sooty hue. Shown in a black venue her black clothes were enlightened by towering white wigs (à la Marie Antoinette) and slashes of skin that were visible through the geometric cuts of the garments. These jagged lines (a sort of Frankenstein mash-up of the Charlie Brown zigzag) reappeared 10 years later in a collection centered on psychology. “What I thought of in the end,” Kawakubo said, “was a profoundly internal approach . . . about what’s deep inside.” Here, her cuts seemed to serve as a way out, as escape routes to a hard-earned freedom.

Hermès 1999 vs. 2009
There are many fewer than nine degrees of separation between Martin Margiela and Jean Paul Gaultier. The Belgian worked for the Frenchman before going out on his own Gaultier later became Margiela’s successor at Hermès. Both evolved this heritage house by adding select elements of popular street culture. Margiela’s Spring 1999 collection, for example, was accessorized with house’s first sneaker (!), the Quick, introduced a year earlier. Gaultier paired the maison’s famous and luxurious leathers with a more workaday material, denim, for his Western-themed Spring 2009 show.

Louis Vuitton 2009 vs. 2019
In 1997 Marc Jacobs was tasked with creating a ready-to-wear collection for the famed French leather-goods firm Louis Vuitton. His Spring 2009 collection brought together wide-ranging references, from Africa to 1940s pompadours, all served up with a helping of 1970s decadence. “It’s the coming-together part that gives it its spirit,” mused Jacobs. Nicolas Ghesquière, creative head since 2013, said he took the time “to dig into my obsessions” for his Spring 2019 collection. Foremost among his interests is futurism the �s are a recurrent preoccupation as well, and he combined them in a way that spoke to life in a shattered, image-heavy, digital age.

Marc Jacobs 2009 vs. 2019
Marc Jacobs has racked up mega-miles while time traveling through fashion. His destination for Spring 2019 was the 1980s, with a stopover at the Avenue Marceau atelier of Yves Saint Laurent. Ten years before he had wowed with a many-layered and much celebrated collection into which myriad references could be read. Jacobs, though, was more interested in the bigger picture. “It’s about the joy of dressing up,” he said.

Martin Margiela 1999 vs. 2009
Martin Margiela might be a man of few words—the designer never took a bow or sat for photographers, and he communicated mostly via fax𠅋ut he didn’t shy away from using words in his work. His Spring 1999 collection included a men’s tailleur that read, “That suit is you, sir.” Oh, the irony! Even before that, though, he expressed his AIDS activism through the slogan tees that read: “There’s more action to be taken against AIDS than to wear this T-Shirt but it’s a good start.” Debuting for Fall 1994, they were the highlights of his Spring 2009 show, and they continue to raise money for AIDS research today.

Prada 1999 vs. 2009
Miuccia Prada is constantly upending bougie ideals of femininity. Soon after the company launched a sport line, Linea Rossa, in 1997, the athletic influence made its way into the designer’s Spring 1999 women’s collection, which featured backpacks and fanny packs as well as more utilitarian fabrics. A decade later, Prada dove into the lingerie drawer one more, resulting in suiting with a sensual touch for ladies who launch, not lunch.

Rodarte 2009 vs. 2019
Kate and Laura Mulleavy might have a penchant for Japanese slasher films and a distinct fondness for anything Goth, but they’re romantics at heart. (One of their all-time favorite things to do is visit the roses at the Huntington Botanical Gardens in Pasadena.) Even their apocalyptic Spring 2009 show, peopled by �utiful androids,” closed with chiffon gowns, some with swirling, sculptural, cut-out bodices. The sister’s trademark Gothic romance was back in full force for Spring 2019. Their collection, presented in New York City’s Marble Cemetery, featured models in unabashedly princess-y gowns, crowned, naturally, with flower headdresses.

Yohji Yamamoto 1999 vs. 2009
Black is Yohji Yamamoto’s standby hue, but he’s not wed to it, as evidenced by his several bridal-themed shows. The best known of these is Spring 1999, which featured transmutable outfits, including a nuptial number with a zippered crinoline. �hind the wedding dress there must be many stories,” he mused. For the finale of his Spring 2009 show, Yamamoto presented another white, bell-shaped white dress. This one that swayed around the mast of the model’s body like a sail.


Vogue Runway Did a 10-Year Fashion Challenge: Check Out the Results Here

An archivist’s task is not only to preserve the past, but also to analyze its ebbs and flows. Thanks to the sheer number of Fashion Weeks and the plethora of seasons, to say nothing of trends, fashion can seem mercurial. It’s true that some designers seem to follow the butterfly’s fluttering path, alighting briefly on an idea or look only to move quickly on. Look closer though, and many return to the same flower, as it were, time and time again. This same, cyclical pattern is often repeated at heritage houses, regardless of the rapid rotation of design leads. A creative director’s remit is no longer just about respecting or rejecting the history of the house going back to its founders, but taking into account all of a maison’s histories, past and present.

Inspired by viral #10YearChallenges, we’ve done a fashion version, digging into our deep archives (spanning more than 20 years) to compare and contrast Spring collections from 1999 and 2009, and 2009 and 2019. Enjoy.

Alexander McQueen 1999 vs. 2009
Lee Alexander McQueen was creating Insta-perfect moments long before Facebook existed. One of the most unforgettable of those experiences was the finale of “No.13,” featuring Shalom Harlow on a spinning platform being spray-painted by two robotic arms rented from a car factory. The designer, known for juxtaposing the raw and the refined, here created a confrontation between technology and heritage—this show was presented just before Y2K mania set in. Ten years later, the nature-loving McQueen harnessed technology once again. This time, in the interest of environmentalism, he celebrated nature through digital prints based on things like wood grain and butterfly wings.

Alexander Wang 2009 vs. 2019
This New York wunderkind might be best known for his scruffy dressed-down MOD (model off duty) aesthetic, but there’s a strong streak of athleisure running through his work, too. Call it a case of opposites attracting: The designer, not one for team sports, has consistently borrowed from the sartorial playbooks of football, surf, and, in 2009, boxing. Ten years on, vestiges of his rah-rah sports spirit remain, if now playing second string to a harder, edgier look directed to Insta-girls.

Balmain 2009 vs. 2019
Balmain was once a bastion of conservative couture, but when Christophe Decarnin took over in 2005, the house was more than dusty, it lacked identity, allowing Decarnin to approach the brand as if it were blank page. The Frenchman cut a swagger with peaked-shoulder silhouettes and plays on high and low (ripped jeans with a bejeweled jacket) that sometimes teetered on the edge of good taste. Indeed, they were seemingly pulled back from the precipice by their hefty price tags alone. Working alongside the reclusive Decarnin for some of the glory years was the young, outgoing, and media-savvy Olivier Rousteing. Since taking over design responsibilities in 2011, he’s retained some signature silhouettes from Decarnin’s time, while upping the wow-factor both in the garments and on the front row.

Calvin Klein 1999 vs. 2009
Calvin Klein’s Spring 1999 show opened with airy white looks and closed with shots of bright color, which he mixed or used alone in solid strokes. Ease defined this collection, as it did the “King of Clean’s” approach to fashion in general. Klein served up minimalism charged with sexuality, and he had no time for fuss or stiff formality. When Francisco Costa, a Gucci alum, took over, he maintained Klein’s legacy, tweaking it with bits of structure, and in the case of his Spring 2009 collection, Deco touches.

Christopher Kane 2009 vs. 2019
With his debut collection of neon bandage dresses in micro-mini lengths, Christopher Kane established himself as a go-to designer for latter-day sex kittens. By 2009 he had moved onto bigger prey, having rewatched Planet of the Apes, The Flintstones, and One Million Years B.C. A decade on, his collection was informed by nonfiction fare, specifically David Attenborough’s films on the mating behaviors of wildlife, through which he imbued his clothes with some animal magnetism.

Comme des Garçons 2009 vs. 2019
Rei Kawakubo might be an iconoclast, but that doesn’t mean she takes a slash-and-destroy approach to her work. In fact, close observation reveals that the designer mulls over and returns to themes of interest. Kawakubo, noted critic Sarah Mower, “virtually invented black as the noncolor of fashion in the �s,” and for Spring 2009 she took a new look at her signature sooty hue. Shown in a black venue her black clothes were enlightened by towering white wigs (à la Marie Antoinette) and slashes of skin that were visible through the geometric cuts of the garments. These jagged lines (a sort of Frankenstein mash-up of the Charlie Brown zigzag) reappeared 10 years later in a collection centered on psychology. “What I thought of in the end,” Kawakubo said, “was a profoundly internal approach . . . about what’s deep inside.” Here, her cuts seemed to serve as a way out, as escape routes to a hard-earned freedom.

Hermès 1999 vs. 2009
There are many fewer than nine degrees of separation between Martin Margiela and Jean Paul Gaultier. The Belgian worked for the Frenchman before going out on his own Gaultier later became Margiela’s successor at Hermès. Both evolved this heritage house by adding select elements of popular street culture. Margiela’s Spring 1999 collection, for example, was accessorized with house’s first sneaker (!), the Quick, introduced a year earlier. Gaultier paired the maison’s famous and luxurious leathers with a more workaday material, denim, for his Western-themed Spring 2009 show.

Louis Vuitton 2009 vs. 2019
In 1997 Marc Jacobs was tasked with creating a ready-to-wear collection for the famed French leather-goods firm Louis Vuitton. His Spring 2009 collection brought together wide-ranging references, from Africa to 1940s pompadours, all served up with a helping of 1970s decadence. “It’s the coming-together part that gives it its spirit,” mused Jacobs. Nicolas Ghesquière, creative head since 2013, said he took the time “to dig into my obsessions” for his Spring 2019 collection. Foremost among his interests is futurism the �s are a recurrent preoccupation as well, and he combined them in a way that spoke to life in a shattered, image-heavy, digital age.

Marc Jacobs 2009 vs. 2019
Marc Jacobs has racked up mega-miles while time traveling through fashion. His destination for Spring 2019 was the 1980s, with a stopover at the Avenue Marceau atelier of Yves Saint Laurent. Ten years before he had wowed with a many-layered and much celebrated collection into which myriad references could be read. Jacobs, though, was more interested in the bigger picture. “It’s about the joy of dressing up,” he said.

Martin Margiela 1999 vs. 2009
Martin Margiela might be a man of few words—the designer never took a bow or sat for photographers, and he communicated mostly via fax𠅋ut he didn’t shy away from using words in his work. His Spring 1999 collection included a men’s tailleur that read, “That suit is you, sir.” Oh, the irony! Even before that, though, he expressed his AIDS activism through the slogan tees that read: “There’s more action to be taken against AIDS than to wear this T-Shirt but it’s a good start.” Debuting for Fall 1994, they were the highlights of his Spring 2009 show, and they continue to raise money for AIDS research today.

Prada 1999 vs. 2009
Miuccia Prada is constantly upending bougie ideals of femininity. Soon after the company launched a sport line, Linea Rossa, in 1997, the athletic influence made its way into the designer’s Spring 1999 women’s collection, which featured backpacks and fanny packs as well as more utilitarian fabrics. A decade later, Prada dove into the lingerie drawer one more, resulting in suiting with a sensual touch for ladies who launch, not lunch.

Rodarte 2009 vs. 2019
Kate and Laura Mulleavy might have a penchant for Japanese slasher films and a distinct fondness for anything Goth, but they’re romantics at heart. (One of their all-time favorite things to do is visit the roses at the Huntington Botanical Gardens in Pasadena.) Even their apocalyptic Spring 2009 show, peopled by �utiful androids,” closed with chiffon gowns, some with swirling, sculptural, cut-out bodices. The sister’s trademark Gothic romance was back in full force for Spring 2019. Their collection, presented in New York City’s Marble Cemetery, featured models in unabashedly princess-y gowns, crowned, naturally, with flower headdresses.

Yohji Yamamoto 1999 vs. 2009
Black is Yohji Yamamoto’s standby hue, but he’s not wed to it, as evidenced by his several bridal-themed shows. The best known of these is Spring 1999, which featured transmutable outfits, including a nuptial number with a zippered crinoline. �hind the wedding dress there must be many stories,” he mused. For the finale of his Spring 2009 show, Yamamoto presented another white, bell-shaped white dress. This one that swayed around the mast of the model’s body like a sail.


Vogue Runway Did a 10-Year Fashion Challenge: Check Out the Results Here

An archivist’s task is not only to preserve the past, but also to analyze its ebbs and flows. Thanks to the sheer number of Fashion Weeks and the plethora of seasons, to say nothing of trends, fashion can seem mercurial. It’s true that some designers seem to follow the butterfly’s fluttering path, alighting briefly on an idea or look only to move quickly on. Look closer though, and many return to the same flower, as it were, time and time again. This same, cyclical pattern is often repeated at heritage houses, regardless of the rapid rotation of design leads. A creative director’s remit is no longer just about respecting or rejecting the history of the house going back to its founders, but taking into account all of a maison’s histories, past and present.

Inspired by viral #10YearChallenges, we’ve done a fashion version, digging into our deep archives (spanning more than 20 years) to compare and contrast Spring collections from 1999 and 2009, and 2009 and 2019. Enjoy.

Alexander McQueen 1999 vs. 2009
Lee Alexander McQueen was creating Insta-perfect moments long before Facebook existed. One of the most unforgettable of those experiences was the finale of “No.13,” featuring Shalom Harlow on a spinning platform being spray-painted by two robotic arms rented from a car factory. The designer, known for juxtaposing the raw and the refined, here created a confrontation between technology and heritage—this show was presented just before Y2K mania set in. Ten years later, the nature-loving McQueen harnessed technology once again. This time, in the interest of environmentalism, he celebrated nature through digital prints based on things like wood grain and butterfly wings.

Alexander Wang 2009 vs. 2019
This New York wunderkind might be best known for his scruffy dressed-down MOD (model off duty) aesthetic, but there’s a strong streak of athleisure running through his work, too. Call it a case of opposites attracting: The designer, not one for team sports, has consistently borrowed from the sartorial playbooks of football, surf, and, in 2009, boxing. Ten years on, vestiges of his rah-rah sports spirit remain, if now playing second string to a harder, edgier look directed to Insta-girls.

Balmain 2009 vs. 2019
Balmain was once a bastion of conservative couture, but when Christophe Decarnin took over in 2005, the house was more than dusty, it lacked identity, allowing Decarnin to approach the brand as if it were blank page. The Frenchman cut a swagger with peaked-shoulder silhouettes and plays on high and low (ripped jeans with a bejeweled jacket) that sometimes teetered on the edge of good taste. Indeed, they were seemingly pulled back from the precipice by their hefty price tags alone. Working alongside the reclusive Decarnin for some of the glory years was the young, outgoing, and media-savvy Olivier Rousteing. Since taking over design responsibilities in 2011, he’s retained some signature silhouettes from Decarnin’s time, while upping the wow-factor both in the garments and on the front row.

Calvin Klein 1999 vs. 2009
Calvin Klein’s Spring 1999 show opened with airy white looks and closed with shots of bright color, which he mixed or used alone in solid strokes. Ease defined this collection, as it did the “King of Clean’s” approach to fashion in general. Klein served up minimalism charged with sexuality, and he had no time for fuss or stiff formality. When Francisco Costa, a Gucci alum, took over, he maintained Klein’s legacy, tweaking it with bits of structure, and in the case of his Spring 2009 collection, Deco touches.

Christopher Kane 2009 vs. 2019
With his debut collection of neon bandage dresses in micro-mini lengths, Christopher Kane established himself as a go-to designer for latter-day sex kittens. By 2009 he had moved onto bigger prey, having rewatched Planet of the Apes, The Flintstones, and One Million Years B.C. A decade on, his collection was informed by nonfiction fare, specifically David Attenborough’s films on the mating behaviors of wildlife, through which he imbued his clothes with some animal magnetism.

Comme des Garçons 2009 vs. 2019
Rei Kawakubo might be an iconoclast, but that doesn’t mean she takes a slash-and-destroy approach to her work. In fact, close observation reveals that the designer mulls over and returns to themes of interest. Kawakubo, noted critic Sarah Mower, “virtually invented black as the noncolor of fashion in the �s,” and for Spring 2009 she took a new look at her signature sooty hue. Shown in a black venue her black clothes were enlightened by towering white wigs (à la Marie Antoinette) and slashes of skin that were visible through the geometric cuts of the garments. These jagged lines (a sort of Frankenstein mash-up of the Charlie Brown zigzag) reappeared 10 years later in a collection centered on psychology. “What I thought of in the end,” Kawakubo said, “was a profoundly internal approach . . . about what’s deep inside.” Here, her cuts seemed to serve as a way out, as escape routes to a hard-earned freedom.

Hermès 1999 vs. 2009
There are many fewer than nine degrees of separation between Martin Margiela and Jean Paul Gaultier. The Belgian worked for the Frenchman before going out on his own Gaultier later became Margiela’s successor at Hermès. Both evolved this heritage house by adding select elements of popular street culture. Margiela’s Spring 1999 collection, for example, was accessorized with house’s first sneaker (!), the Quick, introduced a year earlier. Gaultier paired the maison’s famous and luxurious leathers with a more workaday material, denim, for his Western-themed Spring 2009 show.

Louis Vuitton 2009 vs. 2019
In 1997 Marc Jacobs was tasked with creating a ready-to-wear collection for the famed French leather-goods firm Louis Vuitton. His Spring 2009 collection brought together wide-ranging references, from Africa to 1940s pompadours, all served up with a helping of 1970s decadence. “It’s the coming-together part that gives it its spirit,” mused Jacobs. Nicolas Ghesquière, creative head since 2013, said he took the time “to dig into my obsessions” for his Spring 2019 collection. Foremost among his interests is futurism the �s are a recurrent preoccupation as well, and he combined them in a way that spoke to life in a shattered, image-heavy, digital age.

Marc Jacobs 2009 vs. 2019
Marc Jacobs has racked up mega-miles while time traveling through fashion. His destination for Spring 2019 was the 1980s, with a stopover at the Avenue Marceau atelier of Yves Saint Laurent. Ten years before he had wowed with a many-layered and much celebrated collection into which myriad references could be read. Jacobs, though, was more interested in the bigger picture. “It’s about the joy of dressing up,” he said.

Martin Margiela 1999 vs. 2009
Martin Margiela might be a man of few words—the designer never took a bow or sat for photographers, and he communicated mostly via fax𠅋ut he didn’t shy away from using words in his work. His Spring 1999 collection included a men’s tailleur that read, “That suit is you, sir.” Oh, the irony! Even before that, though, he expressed his AIDS activism through the slogan tees that read: “There’s more action to be taken against AIDS than to wear this T-Shirt but it’s a good start.” Debuting for Fall 1994, they were the highlights of his Spring 2009 show, and they continue to raise money for AIDS research today.

Prada 1999 vs. 2009
Miuccia Prada is constantly upending bougie ideals of femininity. Soon after the company launched a sport line, Linea Rossa, in 1997, the athletic influence made its way into the designer’s Spring 1999 women’s collection, which featured backpacks and fanny packs as well as more utilitarian fabrics. A decade later, Prada dove into the lingerie drawer one more, resulting in suiting with a sensual touch for ladies who launch, not lunch.

Rodarte 2009 vs. 2019
Kate and Laura Mulleavy might have a penchant for Japanese slasher films and a distinct fondness for anything Goth, but they’re romantics at heart. (One of their all-time favorite things to do is visit the roses at the Huntington Botanical Gardens in Pasadena.) Even their apocalyptic Spring 2009 show, peopled by �utiful androids,” closed with chiffon gowns, some with swirling, sculptural, cut-out bodices. The sister’s trademark Gothic romance was back in full force for Spring 2019. Their collection, presented in New York City’s Marble Cemetery, featured models in unabashedly princess-y gowns, crowned, naturally, with flower headdresses.

Yohji Yamamoto 1999 vs. 2009
Black is Yohji Yamamoto’s standby hue, but he’s not wed to it, as evidenced by his several bridal-themed shows. The best known of these is Spring 1999, which featured transmutable outfits, including a nuptial number with a zippered crinoline. �hind the wedding dress there must be many stories,” he mused. For the finale of his Spring 2009 show, Yamamoto presented another white, bell-shaped white dress. This one that swayed around the mast of the model’s body like a sail.


Watch the video: Tom Ford RTW Spring 2014