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Ligia Ponce

@babybangs____

48.5K

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Fashion absurdist ☆
Asesorías personales: @babybangs_ap
contacto: [email protected]
TikTok: —> +140k
Writer @archivepdf

POSTS STORIES REELS TAGGED

El sábado vestí @banzo__ mientras veía la pasarela de @esant____ wow, dreams do come true.

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Forever obsessed 💙 it’s so cool to know your work is out there but it’s still surreal once you have actual proof of its physical existence. Glad to be part of the @archivepdf team 💋

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#photodump of my favorites days of the week🩵🎀

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Givenchy A/W 1999 by Alexander McQueen.

Lee Alexander McQueen always took everything to the utmost extreme. It isn’t enough to allude to technology; he must represent it, make it functional, and make a statement.

This collection, too, was inspired and dedicated to Stanley Kubrick, particularly his movie ‘2001: A Space Odyssey’, sadly, due to his recent passing. The collection had a strong beginning and an even stronger ending. The show opened with a laser show sending Tron-inspired models down the silvery mirrored runway. The most prominent recurring motif, the circuit board, was made out of embellishments, embroidery, prints, and even LED lights—something quite far removed from the elegant classic LBD Givenchy was known for. However, once the shocking technology aspect is set aside, the classic, sharp, clean cuts of the house are very prevalent. Tailored suit pants, coats, and geometric-cut dresses with a hint of sportswear bring comfort, durability—all mixed with the very important theme of technology, such a recurring theme for McQueen. Most notably, the circuit pieces have been styled on figures such as Céline Dion and Zendaya—a collection that has remained prevalent throughout the years.

The collection is wide and experimental, yet very well thought out, with a cold-toned color palette and a mix of materials such as nylon, plastic, polyester, lycra, fur, and even PVC. Model Gisele Bündchen was remarkably part of the cast and modeled three times, showcasing various looks, including what appears to be a custom plaster body cast. Restrictive, sensual, and a clear empowerment statement. The ever-strong message and rebellious thinking of Lee Alexander McQueen.

Writer: @babybangs____
Scan providers: @myclothingarchive / @archivings.stacks

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Christian Dior S/S ‘00 Couture By John Galliano.

Inspiration can strike at any moment. For Galliano, it struck during one of his daily runs. He and his trainer would make their way from Marais to the Seine, passing through Les Clochards, known as the city of the homeless. While doing so, Galliano found the state of the homeless quite romantic. He viewed their well-worn clothes, their few possessions, and the makeshift warmth provided by newspapers as liberating. Perhaps in a manner akin to “Material wealth fades, but spiritual richness persists.” Then and there, he decided to base Dior’s upcoming haute couture collection on what he saw.

During his research for the collection, Galliano discovered the rag balls of the 1930s, where socialites dressed up as hobos but in shredded couture gowns. He also studied Diane Arbus’ pictures of the mentally ill and the works of Austrian expressionist painter Egon Schiele. Galliano mixed these influences together to create an inspiring concoction that he turned into his very scandalous collection.

The runway opened with ‘American Pie’ by Madonna blasting loudly as the models began to slowly and elegantly walk and pose in rich-looking rags. In this collection, Galliano debuted his infamous newspaper fabric; the new print was a collage of Suzy Menkes stories, which some said felt more like a diss than a tribute.

Women’s wear celebrated his runway creations as magical, yet not all shared the sentiment. The French media criticized the collection for its perceived lack of social sensitivity. Angry protesters picketed Dior’s headquarters, demanding an apology, carrying signs with slogans like “cynicism isn’t cool” and “respect the homeless.” Consequently, the store had to close temporarily until an apology was issued. Galliano eventually apologized, stating that he never meant to offend anyone.

Writer: @babybangs____

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COLLABORATORS X TANIA ORELLANA

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Diesel StyleLab: A/W 1999 Collection.

Freedom to express and create without the burden of constant reinvention due to the trend cycle—that is why StyleLab first came to life. StyleLab was once the new upscale product line of Diesel, designed to compete with the likes of Miu Miu and D&G in the ever-growing luxury segment.

Described as ‘a laboratory of surprising styles,’ StyleLab’s A/W 1999 collection opens with what appears to be a modified fencing mask made from high-quality stainless steel mesh. It provides an artistic yet sporty touch to the high casual wear line. The line’s second-ever fashion show was held at a skating rink in Earl’s Court, London. Seeking to make an impact and differentiate itself from competitors, StyleLab opted for a unique presentation. Wisely, the models were cast on the condition that they could skate, but even so, some maintained an unsteady, almost dangerous pace that caused amusement among guests.

The collection featured thick knitted gloves, skates dressed to match and complement each individual look, and a pared-back color palette of white, black, grays, and beige. This thoughtful collection offered an array of interesting pieces with sleek utilitarian finishes, creating a minimalistic, sporty, elevated look, seemingly made from materials like nylon, cotton, and wool.

The collection found a new home at Diesel StyleLab’s store in SoHo, New York, in 1999—transforming the ephemeral beauty of the fashion show into a poetic permanence, inviting to explore and embody the artistry that once graced the ‘runway’.

Writer: @babybangs____
Scans Provider: @myclothingarchive / @archivings.stacks
Video Provider: @dampmagazines

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Yohji Yamamoto S/S ‘99 Womenswear Collection.

‘Behind the wedding dress, there must be many stories,’ said Yohji Yamamoto. ‘[It] is burdened by the drama of one’s life.’

On October 17, 1998, at Moulin Rouge in Montmartre, a celebration of the wedding dress is unveiled with a humorous touch. As the wedding march played, the fashion that emerged had the dual aspects of a costume that evokes the history of wedding dresses and modern everyday wear. Couture techniques are fully utilized, especially in the structure of the billowing flares.

‘I don’t want to make any difference between ready-to-wear clothing and couture wear because there is no lower class, no higher class. Everything is the same.’

Love, life, and death, a combination of fashion spectacle and bridal rituals, exploring gender roles and the magic of a dress underneath a dress, the joy of dressing. The inclusion of playful dimensions, exquisite tailoring, lots of layering, and even white shirts turned into wedding dresses, crinolines, top hats, even puffers, a surprise way ahead of its time... the romantic and elegant image of a woman is created in a fantastical poetic bridal possibility.

Interesting shapes proposed by Yamamoto suited not for the pristine bride but for the anti-bride, the artist, the future Merry Widow, the lover of a well-worn feeling, and floating organic waves. The celebration of womanhood, the audacious rebellion of throwing formalities to the floor, a progression so delightful. Later on came an unexpected cameo by André Leon Talley with a lady wearing a lace dress shirt and velvet-looking suspender dress pants with a hat wrapped around with silky-looking fabric, creating the effect of a long veil, both bride and groom, and a semi-groom, an inside joke.

‘I wanted to find out about the young generation’s life through working for the wedding dress.’

The show closed with the iconic presence of model and dancer Shalom Harlow, shedding layers of her beautiful somber bridal dress, revealing polka dots, lace, and organza.

Writer: @babybangs____
Scan provider: @myclothingarchive

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Swifties don’t come for me, I just want to talk!! In my latest piece for @thecut I spoke to Taylor Swift fans, skeptics, and haters about losing friends over the celebrity. Ty to everyone that shared their friendship breakups with me for this one and to my editor @jenortiznyc!

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Alexander McQueen: A/W 1999 Collection “The Overlook.”

Lee Alexander McQueen infused everything he created with a distinct purpose, encapsulating the significance behind each decision and the messages he aimed to convey. Rather than conforming to popular or trendy notions of the time, he remained true to himself, his ideals, and his anger.

Four glass walls provide a stark representation of a Christmas snow globe, but without the softness of curves; we are left with sharp edges and a larger playground. This marks the first instance where McQueen creates a tangible separation between the audience and the performance. The globe effect isn’t left to the imagination; it’s designed to be felt and observed under a clinical white light, reminiscent of winter’s pure whiteness.

Models intentionally engage with the outside world, staring at the audience, posing, and interacting. They delicately graze the glass walls, walking as close to them as humanly possible.

In every Alexander McQueen collection, there is drama, empowerment, and human skin; even in winter, unconventional displays of skin are showcased.

If it wasn’t evident before, the collection draws inspiration from Stanley Kubrick’s 1980 film “The Shining.” Titled “The Overlook,” it explicitly references the infamous hotel by the same name, pinpointing the exact source of its inception.

Another faithful nod to the movie is seen in the red-headed twins walking hand in hand, twining head to toe in a grey uniform, a striking contrast to the aluminum and fur pieces of art he sent down the runway. The runway was simultaneously eerie and stunning, accompanied by the sounds of wind and lonely wolf calls echoing in the space, while gentle man-made snow fell from the ceiling, adding an extra layer of significance to McQueen’s masterful creation.

Writer: @babybangs____
Scans & Video Provider: @dampmagazines

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John Galliano: 1984 Graduate Collection, “Les Incroyables.”

Storytelling is John Galliano’s essence. His passion for theater and drama fuel his already obsessive nature, leading him to claim that his research for his graduate collection turned him into a French tramp captivated by les incroyables.

Drawing served as Galliano’s primary medium. As a romantic and historian, he delved into the realm of post-French revolutionists. Drawing by candlelight, on parchment paper soaked with remnants of bread and tea, he explored with both hands, using calligraphy pens, sepia ink and watercolors... He pondered, “How do they move? What do they smell like?” He imagined fantastical creatures coming to life, traversing the damp cobblestones of Paris.

Galliano embarked on his graduate collection, crafting eighteenth-century-inspired garments in a genderless fashion. Designing and dreaming in tandem, he crafted coats that could be worn inside out and upside down, with buttons seemingly hanging off — a daring collection he discreetly concealed from most tutors. Galliano was chosen for the closing collection, an honor given only to the best. The collection was a clear reflection of Galliano’s love for history and club culture. The outcome? A stunning ensemble of 10 looks, hailed as one of Hamish Bowles’ top 5 runway shows ever. Galliano orchestrated, in his own words, “an extremely wicked show for my last year at St. Martin’s,” brought to life with the assistance of his peers.

Galliano’s innate ability to inspire remains undiminished, if anything, it has only grown stronger with time.

Writer: @babybangs____

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Celebrating 100K Followers: ARCHIVE.pdf Team’s 100 Favorite Fashion Moments.

I never would have thought that ARCHIVE.pdf could grow into one of the premier platforms for archive fashion enthusiasts. Founded in 2019, I began this passion-project with the simple goal of sharing scans of fashion publications through Tumblr and fashion-focused Facebook groups. From spending hundreds of hours scanning publications in the basement, to transcribing obscure interviews from Japanese magazines, ARCHIVE.pdf slowly but surely attracted fellow enthusiasts: scanners, writers, archivists and the likes. Before I knew it, the one-man project grew to a team of 20, all sharing the common goal of expressing our passion for archival fashion.

To celebrate reaching 100K followers on Instagram, the ARCHIVE.pdf Team has curated 100 of their favorite fashion moments, link in bio. We strive to continue sharing our love for archival fashion with you, both through this article and through new projects coming in 2024.

From contributors to collaborators, mentors and followers, thank you all!

- Riv, Founder of ARCHIVE.pdf

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