Jay Ahr (Q3180)
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Jay Ahr is a fashion house from FMD.
| Language | Label | Description | Also known as |
|---|---|---|---|
| English | Jay Ahr |
Jay Ahr is a fashion house from FMD. |
Statements
Jay Ahr designer Jonathan Riss yearned for more fluidity this season, marking a departure of sorts from his recent exploration of form. While he didn't abandon the now-signature Jay Ahr flounced "kick" skirt—never forsake a retail favorite—you could see how he had collapsed his silhouettes, drawing out a wearable ease that jibed nicely with a pre-collection offering. The label has closed the chapter on the zipper detailing that defined several previous seasons; in its place, a perforation technique of micro "lozenges" punched into sturdy canvas. Sometimes the motif disappeared into stripes; other times it was embellished by flat metal studs. Most often, it came backed in black tulle, which did double duty as structural and tonal reinforcement. That recalled Italian modern artist Lucio Fontana's trick of adding depth to his slashed canvases, and Riss acknowledged that the granddaddy of spatialism is an ongoing inspiration.Azzedine Alaïa appeared as a more literal reference, particularly in the leather latticework pants or the dotted pattern in relief across slouchy tops. At one point, Riss referred to the designer as a "master" while distancing himself from his work by touting Jay Ahr's effortless sensibility. His glazed knits paired with cascading, higher-waisted skirts confirmed as much, and he also managed to make his asymmetric hemlines look uncontrived. Overall, the new fluidity led to more finesse, and the collection's focus—from the repetition of just a few fabrics to the monochromatic palette accented by a Fontana-esque rose and cobalt blue—suggests that Riss increasingly realizes the impact of restraint.
6 July 2014
A chance meeting with Malcolm McLaren approximately eight years ago, around the same time Jonathan Riss launched his label, materialized into fringed miniskirts and shaggy coats at Jay Ahr today. To those obvious late-seventies Britishisms he added in academic-uniform and nightlife dress codes—strange bedfellows, surely. And yet the collection came together with polished sex appeal.As always, Riss devoted his energies to sourcing unique materials as much as to establishing his mood. From Italy came a soft, bouncy blend of viscose, silk, cashmere, and cellophane that might as well be dubbed neo-neoprene; it was perfectly suited to a hooded caban. A technical fabric with rubbery ridging had a weirdly pleasing hand feel, as did striped lacquered suede. Riss also took advantage of advancements in faux leather and fur, micro pleating the former as panels on skirts and sleeves, and using the latter to emphasize shoulders (any similarity to Einstein's hair was purely coincidental). The designer returned to the zipper play that was so predominant for Pre-Fall, this time applying it as a framing device for the fringes and as a contouring device, only now with more linearity, less groove. If you looked closely, you might have noticed zipper teeth as trim on a denim skirt—yes, the material-focused designer finally wrangled up some Japanese raw denim and worked it into a great jean jacket with an oversize sailor collar. It wasn't the sexiest piece in the collection, but it lingered most in the mind.
27 February 2014
The art-fashion frisson that continues to seduce so many designers of both menswear and womenswear struck Jay Ahr's Jonathan Riss from a different angle for Pre-Fall. Forget all the MoMA-worthy auction bait; he had his sights set on the purity of African patterning and ornamentation, and used working zippers as his primary medium. If this link wasn't immediately apparent upon glimpsing his come-hither dresses, it was compelling enough in his mind's eye to yield a collection that revealed his technical strengths. Basically, the zippers could be manipulated at various points along the garments to vary the degree of exposed skin or modify silhouettes. Riss seemed to delight in determining when to include a two-way zipper, where to position the openings, and how to use them for optimum contour definition. In his demonstrations, some were more intuitive than others. Still, they added functional decoration to his LBDs and flouncy skirts, and this made him proudest of all. He also seemed pleased with his latest fabric innovations: an embossed faux leather patterned in squares like a chocolate bar, a technical woven material that evoked an African textile, and a funky red-shaded faux fur that was less imitation mink than extra-large layer.Riss is well aware that his trompe l'oeil dresses (a one-piece blouse-skirt combination) have become his signature, and so, in addition to the zippered styles, he introduced a slightly longer length as well as a version embellished in micro-metal rings. This dimensional pattern also played out on an unstructured shirtdress that was roomier than usual for Jay Ahr. It also happened to be as sexy as any of Riss' slinky creations—and affords him new room to play around for the season to come.
20 January 2014
You probably wouldn't have guessed that designer Jonathan Riss based this season's flouncy webbed skirts and micro net gilets on the monolithic CCTV tower in Beijing and Oscar Niemeyer's mid-century futurism throughout Brazil. To each their own architectural interpretation. Anyway, what really matters is that the collection was cohesive—mostly—and cool (in effect and in terms of ventilation).Riss didn't stray too far from what has become the Jay Ahr comfort zone; he kept to a strict no-color scheme, establishing tonality by layering sheer sweatshirts over sharply cut opaque athletic bras. Previously, Riss achieved volume with plush plumage; for Spring, he shifted up a gear and developed sculpted ruffles from double-sided fused mesh. Bonus points for breathability. The technical, textural focus extended to the swirling pattern of matte studs; they were the work of a Beijing designer who ordinarily makes portable flexible keyboards.But Riss explained that the collection also required a "humanizing" element for counterbalance; presumably he was referring to the flashes of side rib. There was one incongruous element, too, in two of the evening skirts where Riss wrapped pleated fabric around the hips and let it swing softly between the legs. Perhaps they just weren't architectural enough.
26 September 2013
"Sporty" isn't the first word that comes to mind when thinking of the fashion sense of the typical Parisienne. But Jay Ahr swears that thejardins de Parisare filled with young women running around in spandex and sweats. Who knew? Those athletes provided the inspiration for the designer's new collection, a pretty straightforward riff on a workout kit. Of course, Ahr gave his gear a luxe makeover: The holes in his sweatshirt dresses, for instance, revealed chunky hand-embroidered crystals. And the fraying of his track pants was purposeful, of course; Ahr mimicked the effect by using lace. Some of this felt a bit on the nose, but the clothes were executed with a ton of polish, and they'll attract shoppers. The strongest looks here, however, tended to be the least literal. His popcorn and tie-dyed knits had an evergreen appeal, and his evening gowns were sexy yet unassuming. In fact, they looked as easy to wear as workout gear.
28 June 2013
Jay Ahr's Jonathan Riss has quietly shown his ready-to-wear collection at his showrooms in Paris and New York over the years. It was a setup that worked well for the designer, since you could touch and feel the embroideries he's so passionate about. This season, for the first time, the expansion-minded Riss did a presentation for buyers and editors of 20 new looks next door to his store on the rue de Rivoli.Mainly black and white, with a couple of pieces in nude, everything was short and sexy, even daywear looks like the flouncy wool skirts paired with oversize angora sweaters. Riss wanted the collection to feel urban, and these leggy outfits will certainly get noticed in the street. But it was his embroideries that were the main event. The designer worked with silver chains that he twisted and knotted, then assembled onto leather braids or lace, for an effect both fragile and fearless.After the show, a top retailer taking a closer look at the pieces, especially the miniskirt with chain details, said, "We have to have this at the store." It looks like Riss' new way of showing is working for him.
28 February 2013