Paris Fashion Week Spring Summer 2019

In a word, the Spring 2019 Paris collections were reflective; serving no shortage of food for thought to the table. Whereas last season shouted for a call to action, proactively taking charge in empowering those with unheard voices (e.g the applauded Undercover collection which featured politically engaged high school teens), this season took a more reactive stance in light of current events. Designers responded to today’s political challenges in an, albeit quieter, more intense approach.  Notably, Rick Owens erected a lit pyre in the centre of the Palais de Tokyo where condemned witches were burned at the stake; an (in)direct MeToo collection featuring torch-bearing models who wore deconstructed denims and apocalyptic silk fringed mini skirts. The stripes of a charred American flag were also featured on various tops and a floor length billowing gown.Rei Kawakubo also unveiled a deeply emotional presentation at Comme Des Garçons which spoke to the “beneath the surface” psychological challenges females face; whether those be doubts of not being good/pretty/smart enough, pressures of a ticking clock, limitations of anatomy, compromising being a boss (at the risk of sounding too “bossy”), the choice of career versus carer.

This was translated through the raw padded bellies poking out from sliced open, glistening black suits- a reference to Kawakubo birthing not children, but instead a multi-million dollar empire. Chains also constricted the body underneath logo-printed second skin dresses. The chains continued to dangle from limp sleeves and past the hem, dragging onto snow white sneakers. Did she escape from her prison? Or are the chains the metaphorical constrictions a woman must deal with? While reflecting on her own journey, the collection resonated with many women whose hidden, heavy shackles are now seeing the light.Another example of a collection stepping back hitting a reflective tone was Christian Dior. Opposed to last season which was inspired by the student protests of 1968, this season Maria Grazia Chiuri focused on the art of ballet. The collection was painted by a whisper of muted colour - nudes, blush, dusty rose- and was poetic simplicity. Focus was placed on the quiet beauty of the human body and its natural curves. The uncomplicated aesthetic allows the wearer to place attention on herself and bask in a moment of tranquility. In a world of too much noise - is it not refreshing to simplify?

The hushed tones of the pieces however failed to leave a major impact due to the theatrical presentation which was accompanied by a conceptual dance piece, choreographed by Sharon Eyal. Eyal and the eight dancers delighted, but similar to the previous Dior Resort collection featuring horse riding escaramuzas, the theatrics of the fashion show outshone the clothing. It was almost that the models were getting in the way of the performance.The theatrics at Balenciaga also risked eclipsing the collection. The show blew all experience marketing endeavours to shreds as 2000 square meters of video screens aligned a digital tunnel. Here models walked on projections of psychedelic colour constellations. Fluid, neon hypnotic shapes melted into one another through a collaboration with Montreal-based artist Jon Rafman. The gargantuan show provided the setting for an equally gargantuan collection. Creative Director Demna Gsvalia, who is credited for logo mania hype and sock shoes proved his expertise in draping and innovative tailoring which would even make the maison’s founder proud. Gsvalia aspires to bring back structured elegance to the street through “neo-tailoring”. Through his technique, suits are ripened with oversized shoulders. 80s revival? NO! Here, is a fresh futuristic silhouette launched for the future.

Other fashion titans also continued to up the ante when it comes to show production. Chanel took us to the beach (well a beach was transported within the Grand Palais; sand, waves and all), Saint Laurent presenting on top a shallow water-covered runway under the lights of the Eiffel Tower, and Gucci opting out of Milan to show in Paris at the legendary nightclub Le Palace. Even with a spectacular location and the legendary Jane Birkin singing “Baby alone in Babylon”, the dazzling bells and whistles didn’t distract from the question of haven’t we seen all of this magpie geek chic glory before? Alessandro Michele is a visionary and since 2015 has successfully revived Gucci as one of the world’s leading fashion brands - it will be exciting to see him continue to push his boundaries further.However, maybe contemporary design is about developing a singular language and relentlessly sticking to those codes.

Through thick and thin - through Dior Homme, Saint Laurent and now… Celine (Céline).Of course I am referring to the polarising Hedi Slimane, who continues to be the talk of the town,  having launched his first collection as Creative Director for Celine. Slimane obliterated the once go-to brand for professional executive women, completely replacing it with his already tried and tested designs of black suits and micro-mini skirts, popularised in the early 2000s. It is unfortunate (?) presenting in the shadow of the Kavanaugh hearings but the full removal of previous creative director Phoebe Philo’s established working-woman codes reads troublesome. Not to mention these codes are now substituted by dazed youth, debauchery, drugs, sex, and rock and roll ect…Knots in our stomachs were also felt at Thom Browne who, although celebrated in blending the beautiful and the terrifying, sent models down the runway wearing Friday the 13th–style face masks, juxtaposing the couture-worthy gowns. It was not the masks which spooked. It was the fact that the models were gagged and bound - arms tightly strapped onto the torso and would thus be unable to brace a fall in sky-high heels. With it being a beach inspired collection, models were surely intended to look as if they’ve been washed ashore in fisherman’s nets, however the perceived message here was tone deaf considering the current climate of silencing women.

Being one year on from Me Too, the question holds - How do women wish to be perceived? There is a place for sexiness (e.g Jacquemus), but generally speaking there is an overwhelming movement towards modest, unfussy, not silly, let’s get down to business clothes. Clothing with a discreet sense of power with no shame in being feminine - a woman’s power suit does not need to be a masculine cut, as demonstrated by Stella McCartney and at Clare Waight Keller’s Givenchy.Despite a strong wave of genderless dressing (e.g Maison Margiela and Louis Vuitton), women don’t need to adopt masculine qualities or dress like a man to break the glass ceiling or be heard. There is power in femininity. The breathtaking beauty of dramatic, voluminous gowns at Valentino. The hypnotic concoction of rich colour, texture and pattern at Dries Van Noten. The protective armour of chain mail laced with Chantilly lace at Paco Rabane.Upon reflection, one of the most apparent trends of the Paris collections was “dressing up” - a reaction to an overly saturated, often sloppy, streetwear aesthetic.

The new season demands sharp tailoring, putting on a tie, and couture-eque details where an effort to “clean up nicely” is respected. We are living in an ugly moment in history - where victims have somehow become villains; where evidence becomes inconvenient; where hard facts are cast away as simply subjective. It’s time for the people - like you and me- to suit up and be the adults in the room, in contrast to the worse than childish characteristics of many so called leaders. Chaotic times call for decency, order and a sense of precision… cue the laser-cut double-breasted Haider Ackermann jacket.

Milan Fashion Week: SS19

If London is the rebellious anarchic teenager outfitted in neon clad, Milan is the refined mother who knows best. In contrast to the previous week capturing a youthful electric vibrancy, the Italian fashion capital offered the age old Bottega Veneta mantra of living “quiet luxury”. It is here and now where the preference for athleisure starts to fold, and we turn our focus towards a subtler luxe-leisure; luxurious in quality and craft, leisurely in fit and formality. As a whole, Milan proposed clothing for the career woman; ambitious, driven. To her, craving attention on social media popularity seems desperate - her eyes are drawn to the DOW index and skimming through her brimming portfolio of investments. She is an adult who deserves grown up collections.Appealing to such refined taste would be Salvatore Ferragamo which added considerable oomph to beige, drawing a parallel to Richardo Tisci’svery beige Burberry debut. The Ferragamo palate was however energised with punches of regal aquamarines, pink sapphire and ruby reds. Creative director Paul Andrew elevated repurposed staples, such as the classic button down shirt pairing it with flowy leather Bermuda shorts and thoroughly impressed with the footwear - of course - with sculptured wedges, slouchy wicker boots and sandy fabric sandals. Tailored crisp and clean suiting felt new and exciting due to a degree of coolness extended through loose structures.

Max Mara also expressed muted hues, exhibiting its famous coats in all shades of nude, as well as a cheery parade of sunshine yellows emphasising the cross-generational appeal of their iconic product. Real clothes for real women was also a point made by Alberta Ferretti, although with IT girls like Bella, Gigi and Kendall wearing t-shirts and camis, her target audience is clearly of a younger demographic. After three seasons for Jil Sander, Lucie and Luke Meier proved successful with a mostly mono-chrome collection based on a sculptural slouch; architectural in cut and refreshingly unpretentious. All of these labels captured a sense of refined reality, fashion for the street; not lacking on “the dream” of fashion. Instead of fantasy these collections sparked personal and professional aspiration, which is indeed - to use a very overused term- “empowering”.

Equal to the refined narrative, Milan also proposed a natural tone; one that is not edited with Photoshop or FaceTune so to speak. Francesco Risso did this very well at Marni where the humble imperfections made the collection not only endearing but authentic. The frayed hems, the strokes of paint on skirts and jackets, the colourful collage pasted across an asymmetrical midi dress all spoke to our great desire for the human element- which is increasingly overshadowed by artificial intelligence and machines. A backlash against perfection- hallelujah! Also exhibiting an organic, natural tone was Missoni, which celebrated its 65th anniversary. To commemorate the occasion, Angela Missoni sent out one of her strongest collections to date, composed of delicate gossamer-light pieces. They were physical strands of fresh air, soft and innocent and sweet as they lovingly wrapped the models like a grandmother’s embrace. Similar to Missoni, Giorgio Armani offered a collection also drenched in blues and forms of lightness, albeit with a masculine edge expected from his loyal consumers. Natural ease was also apparent at ETRO, inspired by Bruce Brown’s The Endless Summer, the 1964 surf-cult hit. It radiated the ultimate cool girl vibe, personified literally by female pro surfers, Victoria Vergara and Maribel Koucke who, board in hand, waves in hair were flawless. The collection referenced the skate and surf culture in California as well as the denim and calligraphy of Japan and the Pacific. The paisley prints and blend of coastal culture brought in the sunshine.

On the subject of cool girls - enter Miuccia Prada. Prada continues its winning streak creatively and financially, having exceeded analyst expectations by a 9 per cent rise in revenues to €1.54 bn in the six months to June 30. For this season Prada explored the complexities of the bourgeoisie. She injected radical youth into tame ladylike classics; take a knee length A-line skirt and make it transparent to reveal underwear, a mod Babydoll dress in black leather or a printed bodysuit remixed with a plunging neckline synched with a belt under the breasts. The underlying meaning pointed to a polarised society based on extremes of the political right and left.  The few splashes of Prada’s acidic colours also seeped elsewhere such as at a neon infiltrated Bluemarine, the colourful doodle collection at Moschino and at Versace, who served a particularly inspiring tangy green amongst oodles of printed floral layering.

All encompassing trends are almost impossible to discern nowadays, however I will say that Milan took a more organic tone, it was more refined and modest, it stood for real women today on the street and at the office interested in aspiration. Even at uber-glam houses Versace and Cavalli, there was less La Dolce Vita sexiness and instead a more pragmatic approach- great style doesn’t need to lack utility. Milan brought a powerful whisper of decadence, suggesting that fashion forward women today do not want to hide behind a curtain of shrill colour. The start to a new age in minimalism? The dawn of anti-logomania?

London Fashion Week: SS19

The London Collections began on a high note as Caroline Rush, chief executive of the British Fashion Council, unveiled the updated figures outlining the impact of the local fashion industry. She announced that the fashion industry adds £32 billion in GDP to the British economy; equal to 5.4 per cent growth, against the economy’s 1.7 per cent. Representing 890,000 jobs, fashion is almost as large as the financial sector; a neat little tidbit putting a spring into everyone’s step. Despite a sporadic sneer here and there from those passing by the “bizarre” fashion festivities and the occasional protest (it is worth noting this season LFW was completely fur free), fashion remains a legitimate and vital source for this economy’s growth.While fashion’s growth is encouraging, the heavy weight of Brexit burdened the minds of buyers, press and executives.

Representatives from international markets worry as they start to see a Britain inching away from its global and outward facing position. Last season London offered a more optimistic tone more in line with “Keep Calm and Carry On”. However, fast forward 6 months and with still no viable plan of action presented by the government, everyone from CEOs contemplating their strategy to graduates uncertain of where to set up shop have voiced their very real concerns. And now with the EU27 rejecting the “Chequers” plan in Salzburg, Austria last week, the UK again moves their marker back 5 spaces to “Start”; painfully aware of the time ticking to March 29, 2019. New York has the big business (e.g Micheal Kors buying Versace), Milan has the craft manufacturing, Paris is the historical epicentre of fashion. And what does London bring to the table?

World-class education, developing the world’s most promising talent — locally, from the EU and beyond.One only needs to be reminded that Burberry, the most quintessentially British label, is headed by two Italians; Marco Gobbetti, CEO, and Riccardo Tisci, creative director and proud graduate of London institution Central Saint Martins. If the UK loses its edge in attracting top talent or in supporting emerging designers I shudder to think what will happen to this industry, currently booming. Visually capturing this lingering tension would perhaps be the video projection of mustering storm clouds at Richard Quinn; bleak, ominous, threatening.Quinn, since his own Saint Martins graduation only two years ago has already repeatedly captured global headlines.

From Queen Elizabeth sitting front row at his show last season to Amal Clooney wearing one of his designs at the Met Ball, Quinn is a shining star in London’s stratosphere. This season, instead of opening with his accustomed vibrant wallpaper prints, models stepped out in pitch black velvet ski masks and morph suits. The intimidating darkness of the all black tutus, heels and opera coats devoured the models. This opening sequence was made especially dramatic as the London Philharmonic Orchestra played Rossini’s William Tell Overture, followed by Young and Beautiful by Lana Del Rey behind a captivated audience.While the touching theatrics of the collection was not a commentary on Brexit, there was a meaningful message by shining a spotlight on the severe government cuts to art education. As a consequence, according to the show’s press notes, we have witnessed a 34% drop in arts GCSE entries between 2010 and 2018.

Quinn stated that it was important for him to celebrate the British education system and the community where his own artistic skills were refined. As a touching, genuine gesture, Quinn invited current art students from Chislehurst and Sidcup Grammar School, St Thomas More Catholic Comprehensive, and Saint Martins.As a whole, London’s collections were bright and bold, with the palette of choice being all shades of highlighter connoting Warning! Attention! Take for example a bright orange cropped power suit at Henry Holland or Winnie Harlow’s neon yellow dress at Natasha Zinko. Preen by Thornton Bregazzi, Rejina Pyo, and Roksanda also adopted artificial colours, a gesture underlining the influence of Miuccia Prada who popularised neon earlier this year. The shade du jour made the neon clad police officers standing in front of 180 the Strand look particularly en vogue!Headwear was a dominant theme in London, where we saw the bucket hat continue its lowkey resurgence at Micheal Halpern and Alexa Chung, while Victorian style giant saucer hats covered in embroidered veils at Erdem and Simone Rocha added to ultra-feminine theatrics.

The DIY aesthetic headwear at Matty Bovan were also very impressive- together through a collaboration with Stephen Jones headdresses featuring whisks, washing up sponges, and scattered cutlery suddenly seemed very luxe. While Bovan offered a divine explosion of colour, layers and texture, the majority of the London collections was conservative based on longer hemlines, minimal exposure of skin and a refined appeal. Take Tisci’s debut for Burberry where the majority of looks were based off of traditional trench coats, sensible suiting, poised pleated skirts, precise knitwear and appropriate silk scarves. He incorporated the heritage Burberry check into a polite pussybow blouse and within the linings of a smart coat. Of course as one of the original frontrunners of street style, Tisci offered an alternative Burberry genre - he intended the brand to be inclusive to mothers, daughters, fathers and sons.

With Dr. Martens look-a-likes and punky t-shirts reading the words Who Killed Bambi, referencing the Sex Pistols album, it was able to also cater to a younger customer. With over 130 looks in total, there wasn’t a defined direction as to where Tisci will take the brand, but for a first collection it ticked all the boxes.While his Burberry debut and Victoria Beckham’s 10 year anniversary were media highlights for the week, the magic behind London lies in its role as being a launching platform for young talent. It was an immense pleasure to see graduate collections up close at the BFC showrooms and to have the opportunity to hear the designer’s visions. Cavan McPherson for example is a Scottish designer who has recently graduated from The Royal College Of Art with an MA in Womenswear Knit. She has generated a strong visual vocabulary based on sculptural knitwear with woven silks and is simultaneously building an archive of ethical fabrication and colour pigment.

Then there was Paolo Carzana who I distinctly remember from his outstanding BA Westminster collection titled “The Boy You Stole” presented last February. His collection was commenting on power abuse in the industry and was - by the way- 100% vegan. Opposed to leather, Carzana opted forreconstituted fabrics and Pinatex, a substitute made from waste pineapple leaves, coloured in vegetable dyes. Impressively, his raison d’être is in creating fashion which works with nature not against it. The kids are alright.Facts and figures aside, London Fashion Week is special. It continues to push the global industry forward by introducing programs such as the "Positive Fashion" initiative which, launched this season, set sustainability, ethics and wellbeing standards into place. It challenges conventions through immersive presentations. It showcases the new crop of visionary designers as equals, next to industry veterans and lends opportunity to emerging brands rooted near and far off from the UK’s shores. It remains the most energetic and authentic of the major fashion capitals and, whichever way we can, it is our duty to secure its reputation, as we stride into an uncertain future.

New York Fashion Week: SS19

Prior to Fran Summers’ first strides onto the Tom Ford catwalk officially inaugurating the NYFW festivities, expectations for the week ahead in the American fashion capital were great. Ralph Lauren’s 50th anniversary, Wes Gordon’s creative director debut at Carolina Herrera and the return of Proenza Schouler and Rodarte to the New York show calendar provided particular excitement. Each highly anticipated celebration held every intention of stifling any doubts regarding New York’s relevance on the global fashion scene - doubts, which over the past several seasons have grown exponentially. And so, expectations were exceeded starting with a touching tribute to the father of American sportswear; the originator of what it means to be a lifestyle brand.

With front row guests including Oprah and Hilary Clinton, Kanye West and Robert De Niro as well as the full roster of New York’s most established fashion trailblazers, Ralph Lauren’s 50th Anniversary, a monumental occasion in American (fashion) history, was alight in full force.In a see now buy now collection of well over 100 looks, it captured American elegance - the perfected balance between comfort and aspiration; homey flannels met velvet patchworks, a worn leather bomber jacket covering a cosy sweatshirt. An Annie Hall styled ruffled white blouse synched together with a bow tie and paired with brown leather trousers reiterated an approachable yet luxe aesthetic which has been deeply woven into American DNA.

It was the Polo Ralph Lauren looks which were particularly touching as models (some hand in hand with their own children) paid tribute to the modern American family. Many wore varsity jackets, preppy polo shirts, tweed blazers and of course those teddy bear sweaters. Ralph Lauren represents the American dream- built on hard work, integrity, a pioneering spirit; a lifestyle of grit and grace.Building onto the legacy of another American dream is 31 year old Wes Gordon who has taken the reins at Carolina Herrera. Gordon’s vision for the brand was to prioritise Cartagena over Carnegie Hall, shaking up its uptown design codes for a more youthful demographic. Although the occasion-wear outnumbered and outshone the daywear the result was a happy, playful yet polished collection, bustling with sweet summer soaked colour and optimistic prints.

Perhaps as a backlash to dark current events, it was this bright positive energy which radiated here and throughout a multitude of collections.Prabal Gurung sparked joy through a vibrant palate inspired from indigenous villages in Nepal and featured models from more than 35 countries, thus celebrating diversity and inclusion. Bright tantalising colour also delighted at Brandon Maxwell who dedicated the collection to his native Texas and the dripping wealth of the Lone Star state during the 1980s oil boom. The 1980s continue to take the fashion world by storm not only through loud artificial hues, but though exaggerated silhouettes best seen at Marc Jacobs.Jacobs extended his couture-esque collection from last season, touching again upon vintage Mugler, Saint Laurent, early Lagerfeld for Chanel, to our delight. It was a much needed counter argument to streetstyle, war core, and lazy “ugly” fashion which has taken over the mainstream market. It was provocative in its pompousness, fierce in its femininity. No athleisure, no track suits, no logos.

Jacobs made the case of anti- “woke up like this” and pro - “respect for life so I’m going to look as fabulous as I possibly can”. Despite starting one and a half hours late (many editors left to catch their flights to London) it was in my opinion the highlight of New York proving the couture factor is also present on the other side of the pond. The case for pretty clothes was also on display at Oscar de la Renta where after four seasons Laura Kim and Fernando Garcia have finally found their groove. They revamped the house vocabulary for a new audience - e.g rapper Nicky Minaj was sat front row - and weaved the ease of island breeze into traditional forms such as skirtsuits and flared dresses. The collection sparked a sense of resort and wanderlust, also featured at Tory Burch who was inspired by her parents’ travels around the Mediterranean.However with all the prettiness blossoming in New York- the ultra-pretty prairie dress is the must have item of the season in case you were asking - it is a tale of two cities.

On one hand you have beautiful, refined, meticulously crafted design- on the other, including brands such as Telfar, Vaquera and Eckhaus Latta, you have blunt smack in the face realism with a DIY aesthetic. These three brandsrepresent a new generation in fashion; raw, rough and real. While the labels are embraced by the media and art worlds - Eckhaus Latta is currently the subject of an exhibition at the Whitney Museum of American Art - I for one question if in the case of Telfar, Budweiser motif t-shirts are truly remarkable? If in the case of Vaquera, a plain hoodie is really breaking ground?

“Ugly” fashion’s root within reality is at best mundane and at worst messy and unappealing. I fail to understand both the romantic notion of greater meaning or the commercial scalability. Of course meaningin a collection doesn’t have to tug at the heart strings or lead to Nirvana each season but a collection deserves to be well crafted and of lasting value (hello, sustainability?). In terms of function and substance, I fear many of the new hip and happening brands do not possess these qualities (yet). Without these qualities who’s anniversary will we be celebrating in 50 years time?

Like so much of (not only) American society, the New York collections were polarising. It was a tale of the haves - Lauren, Jacobs, Kors, Herrera - versus the have nots, young emerging labels struggling, like all of us, to navigate what the future of fashion holds. Overarching trends can be said to have disappeared completely and it is instead individual labels catering to individual audiences, with individual tastes, communicating to them through individual devices. Fashion has been fractured, split into diverse niches which is why a collective fashion week formula simply no longer makes sense… thoughts for another day.

Chanel Cruise 2019

Continuing Chanel’s tradition of over-the-top fashion show spectacles which has seen everything from launching rockets to icebergs, this season’s Cruise 2019 collection took place on a 500-foot-long ocean liner anchored within the Grand Palais. Reminding one of the Titanic or the Italian trans-Atlantic liner Rex, featured in “Amarcord,” the 1973 comedy-drama directed by Federico Fellini the ship was named La Pausa, after the summer home of Gabrielle Chanel in Roquebrune-Cap-Martin near Monaco. I mean, is there a more appropriate place to present a Cruise Collection than on a cruise?

Instead of setting sail and shooting off to far-flung places, such as Havana or Seoul as in previous seasons, Chanel presented its Cruise 2019 collection in France - a decision also taken by homegrown luxury titans Dior and Louis Vuitton (as well as Gucci) showing later this month. Is keeping local a reaction to global uncertainty? Or is it a clear vote of confidence in Emmanuel Macron and the direction he is leading France which has persuaded Parisian maisons to stay? Remember Macron threw a dazzling reception for French fashion designers at the Elysée Palace last October declaring his own support for the industry. While firmly anchored in Paris, the Chanel La Pausa, proudly lit underneath artificial stars and a night sky, gave promise to its audience for adventure and discovery. A single vessel bringing together an international community desperate for desire (and to be desired).

Before the blast of 80’s tunes, remixed by maestro Michel Gaubert, it was the echo of seagulls and creaking ropes which filled the air, as well as the impatient fog horns which announced departure.

Model of the moment Adut Akech first stepped out onto the dock wearing a pair of loose striped trousers, a casual white sweatshirt branded with red interlocking C’s, and white Mary Jane flats. Simple, unpretentious. Clothes which serve more of a function than a transcending statement for the ages, which is expected from the more commercial Cruise collections.

Elements of the swinging sixties were featured such as A-line mini-dresses, reminiscent of the previous pre-fall collection on the harbour of Hamburg, as well as exaggerated 1980s silhouettes, plumped with broad shoulders. The nautical theme was present throughout with patterns of jagged waves, maritime signal flags and a leitmotif of lifebuoys. Key trends were proclaimed, most notably, the unashamed return of the white tights, cobalt blue sunglasses, and the quintessential French accessory: the skewed beret which was the final dot on the “i” for the overwhelming majority of the looks. Particular emphasis was placed on the waist and midriff - sometimes offering a peak of exposed skin. Being a surprisingly covered up collection, the Cruise collection is no longer exclusive to the sunny shores of far away. For those tropical holiday getaways, there is now “Coco Beach” - launching June 2018- which will consist exclusively of swimsuits, bikinis, cover-ups, denim, and espadrilles.

For the finale, Lagerfeld came out and took his bow with Virginie Viard, his longtime studio designer. Afterward, the buzzing audience was invited on board to dance, eat, be merry and reflect upon a collection intended for the thrill of exploration and open waters.

To students in Paris, as well as Chanel clients and staff, the collection will be displayed inside the vessel over the next three days to discover! Go go go!

Trend Report: Spring Summer 2018

It was an exceptionally strong season, on both sides of the Atlantic. Optimism reigned, with designers looking towards a future full of colour, plumage, and glitter. People are in search for escape and are looking to treat themselves to something out of the ordinary - gone are the days of “norm core”. Accompanying our previous fashion week reports, here are our top 10 trends for the spring summer 2018 season.

And like a flash, another month of collections comes to an abrupt end. Over the past weeks we were introduced to hundreds of sartorial renditions for Spring 2018 where we can’t help but imagine our future beings embracing a new season cooly dripping in the latest fashions, fully equipped to conquer any task thrown our way…. and naturally to look fabulous.Although some shout from the rooftops “the trend is dead!”, there was indeed a common narrative on the spotlit runways from New York to Paris clearly reflecting the environment at large. Optimism ran deep, exemplified through bright colours, uplifting motifs, and provocative styling. Perhaps out of resistance to less than satisfactory current events? Perhaps designers offering their loyal clientele escapism from the everyday? Designers delivered with intriguing inspiration and a convincing toolkit for individual expression, encouraging more risk to embrace standing out from the crowd. This common message was translated into daring trends suggesting the start of a new era - I like to call it hyper maximalism.(Remember, we are living during an incredibly turbulent, yet exciting age and in many years in the future curious minds will look back, flipping - more like swiping- through the Vogue archive and analyse what fashion was saying about this decade.) Most distinct on the runway was the unabashed return of glamour and overall pomp. Over the years we have seen a slow ascend towards maximalism, mostly thanks to Alessandro Michele’s cosmic transformation at Gucci in 2015 with his signature magpie chic. Maximalism (rooted within the arts and crafts movement, romanticism, and art nouveau) has come into full force, where even off the runway, the high street is too covered in groovy glitter and exaggerated silhouettes. The twinkling beads and sequence, perfected by for example Halpern, take us back to the disco scene - we are again at a time of letting loose and I dare say motivated to light up the dance floor? I sense a turn away from “Netflix and Chill” and (Maybe? Perhaps?) a return towards embracing the Saturday night fever. (e.g “That dress is a reason to go out”) The millennial generation has never been more active in partaking in protests, demonstrations, and social campaigns - could it be that such communal spirit is also translated to a leisurely context? I think, yes.Along the lines of disco decadence, is plumage and volume. The pairing, most convincing under the lights of the Eiffel Tower at Saint Laurent, suggest playful seduction and a celebration of individuality. Have designers sensed the societal need for us to stand out in our Instagram snaps? Or is it our growing appetite for attention in the offline world? Or perhaps, it is our desire for personal experimentation where in a world of transparency and one ended possibility we are trying to discover who we are? An additional antithesis to the passé aesthetic of “normcore” is the the return of the bold retro print. The favourites of the season were featured in the homage to Gianni Versace, where early 90s prints for jumpsuits, dresses, and coats were adapted for today. With the 80’s in full revival mode (partially thanks to TV shows such as Stranger Things), more brands are leaning on their heritage, celebrating their legacy by staging homage collections and resurrecting pieces and prints of yesteryear. Nostalgia?Building upon last season’s triumphant debut by Raf Simmons for Calvin Klein, who presented the It coat of 2017 in yolk yellow covered in plastic, PVC has risen to become the protagonist of the season. Most used for preservation and packaging, the synthetic material was wrapped generously around stilettos as seen at Off White or transformed into boater hats, gloves, boots, coats and more at Chanel, thus shielding the precious tweeds underneath from the unpredictable atmosphere.Speaking of protection, was the prominence of the trench coat. With news blasts coming at us 24/7 and where at times it seems were are all living in a reality TV show, there is a serious growing desire for security - no matter in what form. (Even last season various collections such as Cèline began to feature blankets in place of handbags!) It was the unique interpretation of the trench which made it so pleasing, most notably by John Galliano for Maison Margiela and at Balenciaga applying deconstruction and abstract layering respectively.  However in contrast, there was also some fantastic feminine touches including the rising trend of “see through” through lavish use of organza, which in particular played a leading role at Fendi. If you ask me, my guess is that see through is an extension to the rise in modest fashion. While the hems remain long, see through offers that whisper of sex appeal if desired.Other Spring Summer 2018 trends include the dominance of plaid (a reference to the UK exiting Europe?), denim on denim (the return of Twin Peaks and it’s classic Americana style?), and the bitter tinge of pastel tones (millennial pink and co. continuing its world domination?)Of course the true beauty of seasonal trends is that each of us interprets them in our own way. We have the freedom to unravel these curated codes and adapt them for our own needs and desires, so we can achieve our fullest potential. Trends are not a set of rules, they are fluctuating inspirations for us to communicate to the world loud and proud who we are and what we stand for.

Paris Fashion Week SS18: The Boom is Back

And so, another season is behind us. The marathon which is fashion month is complete and the time has finally come to take a well-deserved breather, prop up those blistered and sore feet and reflect on a creatively rich month. The magic of “fashion month” lies within the culture of each fashion capital each possessing its own strengths and weaknesses, where designers and houses celebrate their own local creative scene.

This season, New York made way for a new generation of talent as established designers fled to the other side of the Atlantic, London protested against the political turmoil through vibrant colour and bling, Milan too rode the wave of resilience being upbeat and joyful, and now Paris, bursting with pulsating energy and ingenuity. SS18 was a particularly strong season, offering a range of diverse viewpoints. As per usual the mise en scène of established houses continued to impress, however unlike more recent seasons the collections of big designers were not overshadowed by the grandeur and pomp of theatrics. Best examples of the “big guns” included Louis Vuitton, Saint Laurent, and Chanel.

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It is almost a given that Karl Lagerfeld presented in an over the top location - the season, bringing the jagged cliffs and powerful waterfalls of the Gorges du Verdon inside the Grand Palais… I mean, if you can’t bring the man to the mountain… This artificial presentation of nature interacted beautifully with the parading army of models clothed in clear PVC - plastic boots, hats, capes, and gloves - all to protect the delicate tweeds underneath. While a synthetic taste lingered on your tongue, you realise how appropriate the collection was in this moment of excessive materialism. However, important to note - the sun’s rays stretched into the Grand Palais and created a real rainbow in the man made waterfall. A sign of hope from the heavens? Nature overshadows all? Make what you will, but stunning beauty was accomplished.

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Speaking of beauty, Nicolas Ghesquière at Louis Vuitton and Anthony Vaccarello at Saint Laurent both presented their strongest collections for their respective houses. Ghesquière creative director of a brand synonymous with travel, played on this notion however not geographically speaking, but through time travel. Capturing the sprit of 18th century Louis Quatorze and a modern day gym bug (one who wears a Stranger Things t-shirt none the less) was a playful take on the paradoxes of “high -low” “old- new” “male-female”, and this was very exciting. Vaccarello, who has previously struggled to fill the shoes of his predecessor Hedi Slimane, finally succeeded- presenting a collection of merit through excessive silhouettes and a return of YSL sensual “left bank chic” doing the runway underneath the twinkling lights of the Eiffel tower justice.

(However, leaning on heritage and brand value is not enough, which was sadly the case for Dior who is shamelessly capitalising on a feminist “trend” without backing it up with substance.)

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Personally, best in show was, master of tailoring, Thom Browne. Not only had Browne claimed the strongest show of the season, but presented a collection which will be remembered in years to come. The American in Paris focused on fairy-tales where The Little Mermaid, Sleeping Beauty, and unicorns all played important parts. Elongated silhouettes and epic amounts of tulle were used thus producing an emotional, mystical, couture-like moment. Additional favourites included, John Galliano for Maison Margiela with experimental deconstruction, Dries Van Noten’s rich brocades, Paco Rabanne’s club-kids, Undercover Lab’s ode to Cindy Sherman and of course Pierpaolo Piccioli for Valentino. Piccioli even received a standing ovation from an overjoyed audience and fashion press hailed the collection as a triumph - which it absolutely was. Valentino Garavani, one of the most influential figures in fashion in the 20th century has found a very worthy predecessor and if there was even a shred of doubt before, this collection made the point that Piccioli is continuing to lift the brand to new highs.

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Most accurate in representing today’s youth zeitgeist was Balenciaga, Y Project and Koche. Balenciaga not only conjured up the shoe of the season - the elevated croc platform - but inspired a younger generation on style notes. Accurate in a sense, as most “millennials” cannot afford the Balenciaga offering, but they do indeed purchase vintage in order to imitate modern high fashion and here Balenciaga gave opportunity to others not necessarily in their target audience. Additionally, Y Project, the IT label of the season, rooted in 90’s rave culture, is becoming the uniform for cool  kids, thanks to an counterintuitive aesthetic and meticulous draping. Koche as well continues to evolve, where this season they challenged the relationship between “high society” and football culture with tremendous  success.

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The Paris collections also provided the debuts of Clare Waight Keller for Givenchy and Natacha Ramsay-Levi for Chloé. The oomph factor was no doubt missing at Givenchy, which focused on femininity with a (semi) subversive edge albeit without a zing. For Ramsay-Levi, you could see her signature (from previously working with Ghesquière at Louis Vuitton) due to the sharp angular shapes, steering a once whimsical Chloé into a less forgiving frontier. At Chloé, gone are the days of running through wheat fields- this new Chloé gal has more important things to do, like fighting her way to the top and conquering her dreams. (Note to Dior: now THIS is a feminist collection!)

Fashion, like all industries (and areas in life), goes through booms and troughs, and this season in Paris we saw a boom offering a sense of  much needed escapism and designers looking forward to a future with hope and optimism.

Milan Fashion Week SS18 : Solace Found in the (Fabulous) Familiar

Like London and New York, Milan SS18 soaked us all with a wave of optimism, making way for upbeat and joyful collections. Vibrant colour, overwhelming sequence, sporadic plumage all played seminal roles in lifting next season into an emotional high. Bright colours have been proven to psychologically improve our mood for the better. Case and point: I don't know how anyone could hide a smile from Missoni’s glorious rainbow knitwear! Most notably riding on this surge of excess hues, included Marco De Vincenzo who dedicating his collection to his roots in Sicily, Bottega Veneta which (known for its image of “stealth wealth”) surprisingly was flooded with blingage, and, who I considered the star of the Millan collections, Francesco Risso at Marni who after a shaky start at the creative helm last season, truly impressed in delivering ingenuity and wearability.

Also never shying away from a colourful sensation is Alessandro Michele’s Gucci with a collection of over a whopping 100 looks. While grand in its melange of cultural references and homage to 1980s kitch, was this collection anything different than what we have seen in previous years? Michele truly disrupted Milan with his newfound vision of Gucci in 2015however with each new season, is it all becoming the same narrative and dare I say, predictable? Is a brand’s set unwavering image now everything or do progressive clothes still count? Also, continuing with unchanging narratives was Dolce and Gabbana and Prada who although presented expertly executed pieced, too seemed predictable.

The antithesis of the runway kaleidoscope was the debut collection by Luke and Lucy Meier for Jil Sander. The mostly monochromatic scheme served as a refreshing palate cleanser compared to other shows and injected soul to notoriously sterile minimalism. The collection was varied in style, poetic in taste and served as a worthwhile starting point for the influential brand’s new chapter.

However, the absolute “Fashion Moment” of Milan - heck fashion moment of the season-was Donatella Versace’s tribute to her late brother Gianni, who was tragically killed 20 years ago. The collection paid respect to Gianni’s genius (yes, genius is appropriate in this context) by translating some of his finest work into modern day wear. Fascinating how some pieces - the Trésor de la Mer collection, the Vogue dresses, the Butterfly collection, the Native American feathers, the black and gold baroque prints - now almost 30 years old - seem just as relevant today. This is not a collection to be judged on but to be appreciated - Paying respect to a legend and a different time in fashion. Most obvious in making this point was the supermodel finale featuring Claudia, Naomi, Cindy, Carla, and Helena - strong women with personality. When compared to the often wafer thin, expressionless teenage girls who teetered down the runway before them it showed a drastic difference how the industry changed. From intimate, independent, emotional to disposable, impersonal, and filtered. Of course, that is a much too generalised and gloomy statement but I do think it is fair to state fashion has changed into more replaceable and immediate, attracting a range of consequences.

Overall, there is naturally comfort in doing what we know and it seemed therefore that this is what Milan was emphasising by playing its greatest hits - postmodern counterintuitivism at Prada, magpie maximalism at Gucci, millennial madness at Dolce and Gabbana. But in comparison to what we saw in London and New York, where there is this unprecedented energy to give more chances to younger new talent, this was missing in Milan. Opportunities for the new generation was one of the priorities to the late Franca Sozzani and it would be great for this to play more of a factor in Milan’s future.

London Fashion Week SS18: A Colourful, Sequenced and Checked Resistance

The UK has tragically experienced a difficult summer, but whoever thought this season’s collections would reflect doom and gloom is mistaken. The land of “Keep calm and carry on” held its head proudly and London fashion week proved itself as a creative pool of optimism, ingenuity, and fun - all in a let your hair hang loose kind of way. One moment which particularly captured the adventurous spirit of London was at Molly Goddard’s show, where homegrown supermodel Edie Campbell pranced around the catwalk (model colleagues behind) with a glass of wine in hand and a cigarette to her lips. The Goddard girls wore high-waist dresses with bouncy layers of tulle as skirts bringing the energy and the naughtiness of a toddler. She captured London Fashion Week in a “you know what, things are crazy but while we are here - let’s have fun!” kind of way.

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Other, particularly young brands, resonated with this cheerful attitude through bright colours, big silhouettes, and lots and lots of bedazzle. And really, who today does the dazzle better than Michael Halpern, labeled as “darling of the season”, with his satin and sequenced Studio 54 homage. (Disco isn't dead - its back and who doesn't want that?) Halpern, who only now presented his sophomore collection, is experiencing unprecedented success and has already sold out a collection at Bergdorf’s. The question remains however, as Halpern has made a name for himself under one style- Can he evolve and adapt or does he risk the supernova burnout of a one hit wonder? Who cares really? He’s having fun, we’re having fun. Burn baby burn.

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Another stand out “New kid on the block” was British designer Richard Designer. Quinn, who graduated from Central Saint Martins only last year, too exhibited a pulsing collection full of zeal. Due to his exceptional talent with prints, the iconic London department store Liberty provided the up-and-coming designer a global platform to debut. Sartorially speaking, his floral printed jumpsuits were not groundbreaking, however Quinn managed to capture the vibrant energy of London and we look forward to his future outings.

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For me, best in show was J.W Anderson, Simone Rocha, and Chalayan who like Marc Jacobs in New York, seemed to cut through all of the “noise” and presented honest forward thinking collections true to their own creative visions. They did not need to hide behind the “bells and whistles” of a Tommy Hilfiger Roundhouse extravaganza or the very questionable “Sex sells” attitude presented at Julien MacDonald.

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Also, Christopher Bailey at Burberry presented a refreshingly authentic collection at the Old Sessions house in Clerkenwell amongst a backdrop of 20th-century British photography hung on crumbling walls. It was less polished than previous seasons, but the Fair Isle sweaters, hooded anoraks, and winter accessories brought an unfiltered warmth. With many nations currently divided, including the UK, it was almost heartwarming to see that the iconic Burberry check is back, bringing with itself a unifying identity to the brand and in a way to the country.

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The big takeaway in London was that the collective fashion community gave a big fat NO to Brexit where colour, pattern and vibrance acted as flamboyant forms of political resistance. However, with the falling pound since the referendum and with London still the epicentre for incubating tomorrow’s creative talent, could the local industry perhaps reap benefits from eager international buyers?

Time will tell, but for now, time to get your groove on.

New York Fashion Week SS18: Only in the Dark Can you See the Stars

Long before Binx Walton glided down the Tom Ford catwalk in her shocking pink two-tone pointed stilettos, a dark ominous cloud hung low over New York City, casting a threatening shadow over the future of one of the greatest cities in the world. Uncertainty is thriving within tight-knit communities, unsure about their immigration status, their health care plan, their environment, their jobs, their security and this uncertainty is directly reflected upon other industries including fashion.

New York Fashion Week is struggling to hold on to its reputation of being a “fashion capital”. This year it has experienced an exodus of some of America’s most accomplished creative talent with Rodarte, Proenza Schouler, Altuzarra, and Thom Browne all choosing to present their upcoming collections across the pond, in Paris. With New York’s brightest lights now elsewhere, the darkness however provided the opportunity for younger emerging brands to shine. This season New York hosted a vibrant atmosphere which has been previously regarded as a British specialty: promoting an exciting, wide eyed, and raw next generation. Breakthrough shooting-stars of the season included Vaquera and Eckhaus Latta.

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Vaquera impressed with its thoughtful non-conforming ideals, while Eckhaus Latta offered its most accomplished collection yet, through a refined, causal display executed with precise tailoring and complimenting embellishment. Moreover, it promoted model diversity through different ethnicities, ages, and sizes including a very pregnant Maia Ruth Lee.  It was brilliant how emerging brands filled the #NYFW void with confidence, fresh ideas and most importantly a sense of hope.

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Hope is essential in an unsettling political climate, and this climate was represented in a multitude of ways. Firstly, collections offered a sense of protection where for example at Tory Burch and Calvin Klein, blankets were held instead of handbags and shoulder pads structured oversized blazers in case of any rough and tumble. Also, the overarching aesthetic of deconstruction and reconstruction, where designers mix and matched, crafted together torn scraps here and there, almost like “this is what we have, let’s make do and create something spectacular”. Tom Ford even went so far and splashed the tips of frayed stilettos himself to give a more real and authentic touch. The “imperfect” interpretation reflected the Breaking News headlines, and destruction we read about almost everyday, but underneath the surface there was a flair of optimism thanks to a forgiving colour palette - predominantly pastel. Sunshine yellow too played an important role this season bringing positivity to the concrete streets.

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Optimism, also took form of bittersweet nostalgia where Raf Simmons for Calvin Klein, Stuart Vevers for Coach, and Johnathan Sauders for DVF - three non-American designers I might add- focused on traditional Americana. Raf Simmons was inspired by classic American codes of the 1950’s such as cheerleader uniforms, cowboy boots, and references to pop artist Andy Warhol. Simmons interested in risk taking additionally wove in a perverse element which he described as part American Dream/ American Horror, with partial inspiration from The Shining and the Twin Peaks revival. Agent Dale Cooper, Mr. C and Dougie Jones would all find something in this collection. On the other hand, Stuart Vevers for Coach went Way Out West, drenching the saddle with sparkle. Or Johnathan Sauders who has pushed DVF into a new era marrying glamorous Studio 54 codes with innovative fabrics.

And the overall feeling in New York? 

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A low-key existential crisis. The questions of “why are we here? What is this for? Does it all matter?” Were at the tips of everyone’s tongue. How can we march on debating hemlines when the possibility of a Nuclear winter is becoming an actual threat? Well, I think the best way to answer is what we saw at Marc Jacobs - the clear show of the season. In a context of overwhelming noise- in the news, on the subway, on Twitter, on Instagram, on Facebook, on the streets - Jacobs presented a demi-couture collection in total silence, only the subtle brushing of beads to be heard when the models gracefully walked on. He crafted a moment - of beauty, of inspiration, of awe without the bells and whistles which often drown out what is real. Without appreciating moments like these of truly stunning human accomplishment, nothing matters and we cannot let that happen.

In the dark there is light, and on the light we must focus on.

Burberry Spring Summer 2017: A Celebration of Henry Moore

Burberry is not adapting to the rapidly changing demands of the digital age. Burberry is itself morphing the competitive fashion terrain and dictating to its competitors a case and point success story of how to stay relevant today through clever use of an immersive experience and blending the art and the commercial. Burberry does not solely rely on its heritage and tradition - a cliché for so many luxury labels - it additionally responds to the fluctuating needs of its loyal consumer base. One of those demands is delivering a see-now buy now collection, which was yet again implemented in this February collection. Like the previous 2 seasons, Burberry invites consumers to watch the livestream show and buy straight off the runway for the spring summer season.Shown yet again in the Maker’s House in the heart of bustling Soho, a carved out building once a Foyle’s bookstore, Burberry welcomed fashion press, buyers, and A-list celebrities including Anna Wintour, Naomi Campbell, and Penelope Cruz into the world of Henry Moore - an evening melding together the worlds of fashion and art. Original bronze sculptures by the renowned artist were scattered around the hall. Christopher Bailey said his fascination of Moore began at an early age due to sculptures close to his home in Yorkshire. Moore’s influence as a person, his creative process and his most famous sculptures were directly reflected into each piece shown on the runway resulting in a powerful and dignified show celebrating one of Britain's greatest artists and one of Britain's greatest brands.The nagging question of is fashion art festered in the minds of many when directly confronted with the medium of sculpture and clothes. A straightforward answer may never really come about but  maybe a different question is more important: Why should fashion and art be one and the same? As we witnessed, both stood proud and should be appreciated in their own qualities. Perhaps though -fashion can only exist when art meets clothes? … A sartorial explosion when two world’s collide!Moore’s influences were stitched into each look, but were most prominent with the silhouette shaping, rich texture and the bold emphasis of the shoulders. What makes Moore’s sculptures distinct are the fluid smooth curves and the subtle distortion of body parts. For example, a shoulder can be drooped to the waist which was reflected in the new interpretation of the classic Trench. The ease of curvature played beautifully for the body flattering both men and women.A stylish, simple and effective ready to wear collection with pieces surely to be snatched up from the loyal base of Burberry fans for an effortlessly sophisticated and cool look. I personally have my eye on the chunky creme knitwear casually sliding off the shoulder and those fantastic boots - mini sculptures in their own right inspired directly from “Oval with Points”.But the pinnacle of the evening was surely the grand finale with 80 models covering their ready to wear outfit with an armour of capes. Couture capes that is. Some pieces drew inspiration from Elizabethan times, knights of the round table, Joan of Arc and were the finest output of British couture. For some individual capes, precise details required 600 hours to create. Even for a single moment, the finale of capes - armour ready for battle- took away the breath of any nay-sayer denying art is not fashion… well of course it can be! Combining the casual luxury and uncomplicated ease of the 21st century modern consumer (fulfilling commercial demands) and the delicacy of couture (satisfying the quest for innovation and creativity) Burberry’s February collection was definitely one of Bailey’s best.  The Burberry Maker's House is open to the public until February 27th*All photos take by Nina Van Volkinburg - please reference if used.

Paris Fashion Week SS17

The crescendo of fashion month was absolutely during Paris Fashion Week which presented some of the finest collections of the SS17 season full of empowerment and pulsing adrenaline. Of course all were eager to take part of this week’s offering due to the debuts of some of the world’s most renowned designers at established houses including Maria Grazia Chiuri at Dior, Jarrar Bouchra at Lanvin and Anthony Vaccarello at Saint Laurent. In some cases, the new direction fell short of anticipation while other designers flourished due to new found autonomy, such as Pierpaolo Piccoli now singlehandedly taking the reigns at Valentino. What made Paris so unique was that the majority of houses followed the beat of their own drum instead of hoping on the Vetements bandwagon, which was cringingly apparent in some cases in London and Milan. Female empowerment could not have been shown at a more appropriate time - in the wake of the vulgar comments by one certain presidential candidate- and was successfully portrayed by oversized shoulders, masculine styling, black leather, utilitarian jumpsuits with zippers and an architectural structure as opposed to flimsy summer dresses. While on one hand girl power was spelled across t-shirts at Dior, Celine and various other brands adopted a more refined approach - no need for in your face text to bring the message across. Although with a feminist intention Dior’s delicate silk applique dresses were no match for the subtle, elegant power dressing consistently delivered by Phoebe Philo (loved by the modern woman!).

In this story line of POWER we also witnessed excessive Punk references, most notably at Haider Ackerman and Junya Watanabe and a reemergence of ‘80s glam rock. Deconstruction, whether that includes slits or slashes, contributed to the “don’t you dare mess with me” vibe perfected by Nicholas Ghasquie at Louis Vuitton who did not hold back with the scissors.

Best in show was in my opinion Alexander McQueen and Rick Owens. Both very emotional and displayed some of the most impressive handiwork. McQueen interpreted female empowerment through women taking on the extraordinary force of the sea (interesting to note Erdem too was inspired by a shipwreck for his collection- we all are navigating through choppy waters to stay afloat no?) . Especially through the patent leather studded bustier - harsh, raw, tough - complimenting the romantic so ever-beautiful undertones, the collection was a powerful yet calming force winning over a volatile, queasy environment. I think that can sum up Paris to be honest and on that note after a four week period of globetrotting - the time has come to reflect, digest, and ponder on fashion’s future.