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Our fondness for all things typographic, here at Trésor, is no secret, so you can imagine the excitement when we saw that the typography trend continued to evolve and feature ever more prominently in the 2014 Spring/Summer collections in many shapes and forms: statements, slogans, logos, hand-written letters etc.

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Alexander Wang — translating the bold block letters of his logo into laser-cut leather and digital printing (above)

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Christopher Kane — text-book style illustrations combined with graphic arrows and bold Helvetica Neue caps.

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Donna Karan – pays homage to New York. ‘We chose this font because it mimics the tall, skinny silhouettes of New York City skyscrapers and the graphic intersections of the city streets,’ explains Jane Chung, DKNY’s executive vice president of design. (image credit: Wallpaper*)

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Céline — combines the work of Hungarian photographer Brassaï – photographs of wall-carvings and graffiti captured in Paris in the 1920s with modern micro-formatted newsprint.

(images: style.com)

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Riccardo Tisci labelled his latest Spring/Summer 2014 menswear collection for Givenchy as “Nerd Africa”.

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His prints were based on technology and brought together imagery as far a field as computer motherboards, circuitry, loud speakers, reel-to-reels, athletic jerseys, vintage photos of Masaï or Zulu warriors and tribal-inspired face paints. He fused all those motifs together with bold, sporty stripes and stars that also dipped into L.A. skate culture – a perfect mix of ethnic and urban. He broke down the images into their component parts and rearranged them in a perfectly symmetrical pattern, detailed in bright primary colours.

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This collection shows Tisci’s exploration of the subject of freedom, which was the core idea of his collection, making references to technology and tribalism. Mixing all these concepts are interesting timing as it coincides with the launch of a constellation of 12 low-orbiting satellites above Africa to provide high-speed internet to African countries. They will serve countries that aren’t supplied by fibre-optic networks, which often run along the coasts of continents, but don’t always reach areas in the centre of the landmass. The project is the vision of communication provider O3b Networks, which was founded by an American entrepreneur, Greg Wyler, with support from blue chip companies such as Google, to serve the ‘other three billion’ (“O3b”).

It will help the development of this region by opening up new horizons for communication, connecting them to the global network for sharing information and ideas. It will hopefully bring values and principles of the internet too, capturing and enhancing the benefits that communication has for humankind, including innovation, creativity, self-expression, collaboration and democratic politics.

Words and fashion are like two peas in a pod – acres of blogs and magazine articles dedicated to decoding the will of designers, seeking to read between the lines and discover the garment’s hidden agenda. This season fashion is returning the favour as the alphabet appears to provide inspiration to some of fashion’s biggest names and a whole trend is dedicated to typography.

Mary Katranzou pays homage to the crimson curves of the Olivetti Lettera 35 typewriter and in another dress she incorporates what looks like the keypad of an old fashioned mobile phone into her digitally printed garments. This dress is also featured in the November 2012 issue of British Vogue in an article dedicated to that glorious, very British past time – the car boot sale.

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A more playful take on the trend appears in the Stella McCartney’s Autum 2012 Resort Collection, which includes elaborate calligraphy and crested initials creating a fusion of clean, modern cuts with classic country manor heritage fonts.

Versace’s heavily religous iconography plays tribute to Gianni Versace’s gothic themed final collection and features biblical block capitals as well as Byzantine crosses appearing on dresses and bags.

But it’s not just the catwalk that adopts the written word and typography – watch this space as Trésor prepares to launch a new collection on Trésor Shop !

Fendi’s Spring Summer 2013 ready-to-wear collection is a great feat of Karl Lagerfeld and Silvia Venturini Fendi. Notions of spatial geometry and dimensionality are fused with the house’s traditional and time-honoured skills in a very intelligent way.

Fendi’s garments and accessories traditionally have an artisanal touch applied to every single item. In this collection for the house’s 87th anniversary they are using a technique called ‘saldatura’ to bind materials with a kind of electrical welding, instead of stitching, which is still done by hand – almost as if they are bringing ‘hand-made’ notions into the digital-era.

As for inspiration Lagerfeld sites the Sistine Chapel frescos, more specifically for the shared use of perspective: the black and coloured borders framing the inner panels gave them a 3-dimensional quality, but there was also a 2-dimensional layering of architectural shapes and multiple lengths – “Three dimensions, two lengths” as Mr Lagerfeld put it.

The accessories had a kind of sculptural and playful aesthetic to them. Some of the upper panels of footwear come as a kit of parts, that allows the end-user to assemble them, Lego-like and again places an emphasis on the hand-made quality. Some of the handbags remind us of Rubik’s cubes. (see above).

Finally what makes it such a graphic collection are the large interlocking F’s of the Fendi logo on some of the jackets (not pictured) and the interesting colour palette. The colours make references to the colour theory of Josef Albers. One of the studies visible in the collection is the ‘relativity of colour’ – a theory that investigates how the same colour can be made to appear as two different colours. In the Albers example above the ochre square is the same colour at the top as at the bottom, but it appears as two different colours – lighter at the top and much darker, almost brown at the bottom and no normal human eye is able to see both squares alike.

This means that using the same colours in different contexts and garments will give them new meaning and this results in immense versatility and intellectual depth in the collection.

Louis Vuitton released a small ready-to-wear collection in collaboration with Yayoi Kusama in July 2012 and now they’ve extended the collaboration to a concept store in London’s Selfridges accompanied by 24 window displays. This collaboration is arguably Louis Vuitton’s smartest artistic coup to date as the vast undulating polka dot fields seem to translate so well to textile and pattern design and to Louis Vuitton’s creative thinking fusing fashion and art.

Kusama calls her work “infinity nets” and sees the dots as the form of the sun, which in her words ‘is the symbol of the energy of the whole world and our living life, and also the form of the moon, which is calm. Round, soft, colorful, senseless and unknowing.’ As well as references to nature the colour pop of vibrant hues also hark back to childhood exuberance and cheerfulness.