Here is a summary of his best collections until he resigned in 2005:
F/W 99/00
Introduction of interior strap extensions, shearing and colored leathers. Pure sterling silver fabrics and anti-stress materials.
S/S 01
Entomologic and marine biological structures. Austrian Dirndl influences, sharp strap compositions and lace-up.
F/W 01/02
Opaque and sheer contrasts, luxury materials, organza and leather trim details.
S/S 03
Surf references, Montauk inspired, neon colors, bubble-wrap plastic, high contrast compositions, abstracted wetsuit bands, surf tails, cutouts, inside out made-to-measure trousers, laundry bag pattern, zipper surf couture, zipper smoking stripes and rubber signal prints.
F/W 03/04
The Urban Warrior collection: vernacular, aviation fragmented pieces, magnetic flaps, petaled organza, layering as clothing extension, interchangeable and modular pieces, one leg smoking chap and parachute holsters. Introduction of chaps for men and women. Introduction of cashmere and fleece fused material.
S/S 04
The Dragonfly collection: cut outs, battered metal, extended fragment accessories, ornamental pouches, hand wraps, wide color palette, entomologic and urban cowboy references. Introduction of metallic patent leather in clothing and accessories.
F/W 04/05
Eastern European influences, colored shearing, horsehair, copper leather, Hungarian pleats, French maid look, cummerbund tops, drape holsters, skirt capes, French lace and Russian bark pattern. Introduction of made-to-measure evening dresses.
S/S 05
Maritime, rope and knot detailing, bathing suit trompe waist. 1000 eye / pearl pieces, fishtails and sailor pant tuxedos. Introduction of elastic seersucker.
An attenuated, urban aesthetic, embodied by subtle mixes of luxury fabrics and post-punk synthetics, dominates Helmut Lang's confident designs. Both his menswear and womenswear are uncompromisingly modern: stark minimalist pieces in somber city shades are combined with harsh metallics and slippery transparent layers, questioning the restrictions of traditional tailored clothing.
Although Lang's work is avant-garde, he is not afraid to use sharply cut suiting, or have a punklike disregard for accepted fabric use, as cigarette trousers and three-buttoned jackets come in shiny PVC with clingy net t-shirts worn underneath. He enjoys the surprise of such cheap fabrics being lent a certain chic through their combination with their more luxurious counterparts, and often backs silk with nylon to give a liquid, shifting opacity to column dresses and spaghetti-strapped slips.
For all the deconstructed glamor of his clothes, they remain essentially understated, drawing their interest from the layering of opaques and transparents in sinuous strong lines, rather than unnecessary details that might dull their impact. Even the sexuality of his figure-hugging womenswear is tempered by a nonchalance and apparent disregard for the impact the clothes have. This parallels the growing sense of independence and confidence of women over the years Lang has been designing.
For the 21st century, calling for a "new sensibility," Lang began to use classical natural fabrics such as satin and tweed while continuing with his characteristic shapes but changing his fabrics—such as rubberized lace replaced by real lace. Not wanting to confuse a subtle touch with sheer softness, Lang admitted that his change in fabric choice has something to do with romance and love, with "not being afraid, being able to live these different needs and different moods."
Sources 1 2 3
