Fashion exists in a constant state of revolution. It has to stay constantly ahead of itself and in order to do that incessant transmutation and upheaval are required. Fashion is change, without change fashion would not exist. Clothing would be solely functional items and would not be used as one of the most common forms of self-expression. In this, and a lot of ways, change and revolution are good and necessary–fashion is always revolving and evolving. Luckily for all of us fashion-philes out there Fashion Week happens twice a year in four different cities, allowing all fashion upheavals and takeovers to be exposed. This Fashion Week designer Sheila Frank gave her audience a history lesson by highlighting one of the most influential revolutions in the past two centuries and fresh-faced designer Alex London marches a tribal goddess down the runway.

The aforementioned period in history Sheila Frank draws from for her fall/winter 2011 collection is the mid nineteenth century, a period in time known as the Industrial Revolution is also the name of Frank’s collection. As you may remember from history class, this is when hand and home production was taken over by factories full of machines capable of doing more work in less time. As her sullen faced models trudged down the runway the audience was taken to the 19^th century and could clearly imagine overworked mothers coming home to their brood of children covered in soot.

The work expressed many facets of this turning point. The color palette employs a great use of black, which is reminiscent of the smoke and grime coming from these new, mass-producing factories and the soot and debris found inside them. In exchange for black was a metallic, midnight blue, emphasizing the presence of new machinery and a cold, hard quality given to daily life at this time. Although the palette was dark contrasting fabrics and patterns helped to make each piece stand out. Frank uses mesh, faux snakeskin, and metallics, adding multiple layers to each look. Laying sheers over solids she creates the smoke filled sky and by leaving closures and seems exposed she reminds us of workers bound to their machines and jobs. Like an almost literal translation Frank uses structure in her garments that clearly echoes elements of life during this time. Her shapes were mostly angular with geometric cuts showing the sturdiness of the new, unwavering factory buildings. This also points to the new structure of life-in which work became the key part of the day and there was little left for much else. Sheila Frank revisits the past for Industrial Revolution and by combining multiple elements she brings a strong collection with a clear concept and a contrastingly modern look to the fashion table for next fall/winter.

On a different end of the history spectrum there is the design work of Alex London. I was invited to London’s presentation for Fashion Week last minute and gladly took the invitation though I had no idea what to expect. What the runway held in store was a collection so effective I can’t get it out of my head.

Alex London is a New York City based designer who hasn’t even finished college yet. She started working with design at a very young age, giving her work a maturity not often seen in most student works. Kagami, the fall/winter 2011 collection presented at Fashion Week was designed for her eponymous high-end label.

Kagami has an overall Asian feel to it, however many of the pieces in this collection have a more tribal quality to them. London dresses are covered with strips and bunches of fabric that are often left hanging off a well-placed drape. The effect is stunning and slightly unfinished, as though the pieces were not complete until the model had done some romping through rough terrain. There is a raw element to it and a sort of animal sexuality. But as the models march on tiptoe on and off the runway the looks become more refined.

A sort of evolution is happening as the collection moves on. London starts out simply, but then does not shy away from extremes. Dresses go from absolute sheer slips to fabric overflowing off the bodies, while feather accents become extreme collars. Cotton blends and mohair are the first fabrics seen, but soon enough this changes to silk charmuse, organza, chiffon and mesh—fabric choices that add richness to each piece. The updated kimonos that finish the show are made of Thai silk with braided accents; this gives a modern sophistication to an ancient style of dress. The color story simple at first: blacks, grays and browns; however in the end everything is given a jolt with splashes of crimson and ivory.

The collection upholds its creator’s tendency for the “disturbingly beautiful”—London fashioned wire accessories over mouths of models like muzzles and are down the backs of pieces as “spinal cords.” The accessories bind the tribal queen into her dress and seem to prevent her from speaking creating a quality of forced demur. Combined with the other facets of this collection a lasting image of Kagamiis imprinted in the audience’s mind, rendering this collection unforgettable.

Sheila Frank photos courtesy Sheila Frank. Alex London photos courtesy Alex London (photographer: Kid Hoover, Model: Sumie, hair: Numi Empire, Make up artist: Lyse, and Styling: Alex London.)