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.
Upon first glance, the collection is defined by the excessive layering; constricting the body, freeing convention. Models were engulfed by oodles of covers, padded sleeping bags, and industrial level packaging lending extreme silhouettes and an overarching theme of protectionism. Caution: Fragile. The multiple layers of fabric reminded one of John Galliano’s controversial Clochard collection at Christian Dior Spring 2002 which focused on those living in the onset of society and who are forced to carry all of their belongings at all times. In both collections, material serves a more utilitarian purpose and becomes a direct and more personal extension of the self. Here this extension is revived to include our electronic devices, be it a neon coloured VR headset, or an iPhone strapped to the ankle, like an impeding ball and chain, quietly tracking every step we take. Are we digital nomads or digital prisoners of our own structured worlds? Galliano catered to the idea of “creating your own world within a world that’s very troubled at the moment” where you and your things were wrapped close together, mostly in translucent fabrics such as various shades of nylon hosiery. The effect resulted in exceptionally cut clothes, distorted and mashed together into shapes beyond recognition. Adding to an aesthetic beyond recognition was the ingenious repurposing of garments such as an A-line skirt mutated into a top or jacket. Galliano mentioned that the memory of another garment can offer an even more fantastical version of the original. Case made.
A stretch of sidewalk along the Quai de Conti found itself within the Grand Palais, including the green-painted humble, wooden stalls of the boquinistes. Here, especially to the the delight of bibliophiles, tattered books and magazines were on display all of course relating to Coco Chanel. Within this context, the audience is reminded how a seemingly ordinary street scene (on the Seine) is truly extra-ordinary. For this couture season, Karl Lagerfeld introduced the “high profile” look; defined by elongated skirts which unzip to the thigh, revealing a piquant miniskirt beneath. What a luxury for couture to multi-task, allowing the wearer herself to decide on hemlines depending on occasion. Or better said, the consumer to rebel against being in a passive position when it comes to design- those punk rock faux-Mohawks by hairstylist Sam McKnight suggested that point! Slender sleeves also unzipped, uncovering linings of silk or chiffon as well as sparkling embroidery true to form for the City of Light. As on the exterior tweeds and failles were mostly cast in shades of greige, it is interesting to note how opulence and surface-level “couture magic” found itself within the inner workings of these pieces - hidden at first glance. Perhaps with the chaos of current global events, it simply is not appropriate or tasteful to show off leaving a trail of diamonds behind. A new level of modest fashion can be interpreted by this season’s couture. Many designers today ask what couture should look like or do in 2018; this Chanel collection was it.
Alexandre Vauthier injects pomp and sheer unrestrained french fabulousness to the couture stage in his exploration of “what it means to be Parisian and chic”. As fashion continues its 1980s love affair, Vauthier spoils us with dramatic looks which mimic the aesthetic of Ungaro, Montana, as well as Saint Laurent especially with the plumed black feathered minidress. Typical Mugler exaggerated shoulders also played a leading role. Two stand out looks were in canary yellow - one, a sun ray pleated parachute skirt synched at the waist with an oversized black belt; the second a sharp shouldered blazer worn by the ultra glam Teddy Quinn. Bold shoulders, plunging necklines, a handful of dangerously short hemlines provoked the senses in the best of ways. Our quest for new clothes, season after season, can at the root be defined as our lifelong quest for finding that feeling of being truly unstoppable. That’s what these clothes offered, providing that ultimate FU moment where nothing and nobody can bring you down.
Fashion is about catering to the future and in terms of demographics Giambattista Valli has hit the nail on the head with his fresh-faced target clientele. He has carved out an enviable niche for himself by catering to the demands of millennials and Gen Z, who often desire a range of hem lines, unique silhouettes, and a playful mix of pattern and colour. Valli however has often underlined that youth is a mindset and not a number and thus his creations are applicable for both mothers and daughters alike. As typical of Valli, his collection referenced Balenciaga and featured the expected clouds of tulle - this season soaked in artificial hues including shocking pink. The strongest looks leaned more on sleekness and of a flou nature - take for example a grecian cut floor length gown worn in combination with a diamond Chopard necklace. Dream. The dominance of street style and urban wear seeped into the style of the collection, making way for jumpsuits and even a bra top, two unforeseen pieces for a couture collection leading to a very convincing result. Marching down the runway, wearing a fishnet veil on her head, the Valli girl was neither entirely prim or proper, but she had an infectious rebellious edge to her, combined with a natural sophistication. The collection was youthful and energetic; perfectly in tune with l’air du temps.
Under Maria Grazia Chiuri’s reign over Dior, it the age old philosophy of “less is more” which holds true. The
And down the rabbit hole we go! Amongst the wild beasts and a technicolour spectrum, Bertrand Guyon invited his eager audience into the depths of Schiaparelli’s wonderland. The prints of leopard, zebra, cheetah, and giraffe were featured on everything from silk tuxedo jackets to full length evening gowns, while the generous use of plumage offered even more bite; best shown draped across the neckline of floor skimming white dress, made even more theatrical thanks to a Stephen Jones’ mask of Schiaparelli’s beloved pet dog Popcorn. Side note: the celebrated milliner provided the full range of magical headgear - each worthy to be worn at the most spectacular of masquerade balls! The collection appealed to both the most flamboyant maximalists who may opt for a Flamingo covered cape (and matching mask!) as well as any reserved purist, who would instead prefer the carefully constructed cut of the more subdued jackets. No matter your preference, a collection to dream about when risking a walk on the wild side.
For her second couture outing, Clare Waight Keller paid tribute to the great Hubert de Givenchy who sadly passed away February of this year. While it is often dangerous to lean too heavily on the past, Keller tastefully reinterpreted many of Givenchy’s “greatest hits” - most designed and worn by his close friend Audrey Hepburn from the 50’s through to the 70’s; a golden age for fashion on film. A particular moment recognised by any fan of film or frock, was the concluding look which riffed off of Hepburn’s world famous LBD in Breakfast at Tiffany’s - save for the multiple strands of pearls, a contemporary hood accentuated the frame. What distinguished the modern twist were the elements of masculinity, strength, and protectionism such as a silver metal harness synched over a creme, floor length gown - a provoking contrast in sharp architectural elements and flou. It was an act of thoughtfulness, as Keller happens to be the first creative director of the house to honour Givenchy’s legacy and like many things in life, in order to move forward one must first celebrate the past. Heightened glamour for the modern woman.
Kicking off the Autumn couture collections is Holland based designer Roland Van der Kemp, who sent a bustling cornucopia of colour, shape, and fabric down the runway - each look singular in tone, breaking free from any overachieving theme. Only a very powerful red thread unified the collection, namely the philosophy shared with Helmut Newton who approached his legendary
What are four weeks? In what strangely seemed to be a never ending marathon and equally the blink of an eye, we saw triumphs at the Winter Olympics in Pyeongchang, spectacular losses on the stock exchange, The Shape of Water win best picture at the Oscar’s, widespread protests in Italy, the brink of a head scratching trade war, yet another crushing school shooting in the US. And amongst it all? Hundreds upon hundreds of collections presented in four countries, with both green and seasoned creators offering their own visions for the autumn season.Does fashion “month” today seem so long because we have been re-wired for information immediacy all at a casual swipe? Is it the never-ending product pushing, which seems out of touch with our shift towards sustainability? Is it the fact that our jobs in fashion reporting never end thanks to an always online audience?Whatever it may be - the final stop on the fashion calendar makes all of the travel and the sleepless nights worth it. The magic of Paris remains and as expected, provided the greatest substance due to thought provoking, rich collections. Although most designers opted to play it “safe”, within such a turbulent climate sticking to tried and tested codes was a winning recipe.
The overarching aesthetic of the Paris collections drew from various interpretations of what it means to be a strong woman today. Less successful designers addressed the current movement of Me Too with predictable masculine symbolism while frontrunners approached female power with honest softness. The poetic romanticism of Pierpaolo Piccioli at Valentino was assertive - not aggressive- and proved that flowers and elegant layering too can sustain power.
Another fine show of feminine strength was Chanel’s “Leave me alone” collection, set in the Grand Palais which was transformed into an autumnal park complete with live Oak trees. The fallen leaves crunched beneath the women who determinedly marched through the woods. Seemingly on their way to a destination, alone and unbothered, they dazzled in long Edwardian silhouettes painted in muted shades, save for intermittent punches of colour usually in form of leather evening gloves, which conjured up an image of 1980’s movie star glamour. Chanel - and other brands such as Loewe - also offered a practical hands-free solution in storing important tokens in form of fanny packs or clothing with deep pockets. (Today, one can’t be bogged down by heavy handbags!)While the focus on feminine strength played a critical role across all fashion weeks, what was so impressive with Paris was how this was exhibited through the design teams themselves.
Natacha Ramsay-Levi continued to impress with her sophomore collection at Chloé, celebrating an effortlessly cool bourgeoisie look. There was Sarah Burton at McQueen who exhibited a “soft armour for women” with everything from female tuxedos to Oscar worthy gowns. Maria Grazia Chiuri, her strongest collection yet at Dior, paid homage to the 50th anniversary of the Paris student protests of 1968 through crafty patchworks and embroidery. Clare Waight Keller at Givenchy presented an outstanding collection, basing it on an examination of the Berlin club scene. Through an intelligent mix of modern “sleazy” furs (faux!), bold shoulders and cinched waists, she has successfully managed to stay true to Hubert de Givenchy’s legend and has built upon the tough, raw sexiness left by Riccardo Tisci.
In terms of dominating trends, it is all about futuristic metallics, bursts of neon and an oversized silhouette. Time’s Up in staying silent and conforming - time to be seen! Heard! Respected! Most obvious in a futurist narrative was Olivier Rousteing at Balmain who envisioned a collection for 2050 which meant metallic-finishes, sequinned trenches, and black PVC which twinkled prismatic colour once in the light. Neon fringed boucle and holographic raffia-fringed dresses also reinforced this light-reflecting effect. As most of the fashion audience today seems to live stream fashion shows, Rousteing capitalised on the opportunity to announce his newly launched filter on Snapchat. Presenting a collection that would take advantage of this new filter only makes sense.Paris fashion week and by extension Milan, London and New York inspired a call for action. Most successful in making this point was no doubt Undercover - the show of the week - if not the season. Jun Takahashi presented an extraordinary collection best described as an exploration of the teenage American psyche as idealised by the Japanese outsider. 15 year old Sadie Sink, who played Max in Season 2 of Stranger Things, opened the show in a red tracksuit and glittery beanie and Nike sneaks. Following looks resonated with what real kids would wear today, making their way from homeroom to AP English - a selection of Varsity jackets, polo shirts, striped blazers, destroyed denim. Messages of Total Youth, Unbroken Innocence, Be Aggressive Passive…Aggressive were featured on the clothes.
Of course Takahashi had planned his collection long before the school shooting at Marjory Stoneman Douglas High School. However, due to the timing, and how these young girls marched together to the sound of David Bowie’s “Heroes” all wearing a uniform of parkas and rain boots branded We Are Infinite, it was an incredibly emotional ode to this young generation who has come together collectively taking a stand against gun violence and their - no, our* futures.Remember, physical clothing is only a singular element in fashion - this season reminded us that in a sea of product, it is the intangible message which transcends and which counts at the end of the day.And at a very long month. 
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*Photos by Lucy Staartjes and author's own
“The purpose of art is to make dreams.” This wise Flaubert quote was uttered by Pierpaolo Piccioli in reference to a truly magical couture show. Of course, it may be cliché that haute couture is intended for dreamers or naive to think someone else is in control over one's own dreams but why question it further and scrutinize and just appreciate a brilliant collection which took the breath away from it’s audience- at the Hotel Salomon de Rothschild or on social media.Piccioli stripped away distractions such as excess make up and a loud venue and instead drew the eyes to focus solely on the dresses parading down the proud salon. To think the history of the room... if walls could talk! Like a crisp spring breeze blowing through the open french doors bringing freshness into a stale room, the models glided gracefully across the parquette. Dresses seemed to turn from solid to liquid before our eyes - pure fluidity thanks to precise tailoring. Pleats worthy of comparison to Fortuny ran down the torso to the ground grazing across the open toed sandal shoes. The Grecian influence expanded across the columned silhouettes, motifs of Aries and Jupiter, and inspirations of Pandora. Delicate embroidered flowers embraced the collections raw femininity and the call for natural beauty.A personification of the incredible lightness of being, the collection exhibited 
Unlike the classless intention to grab the latest headline and be the most "liked" thing on the interwebs, John Galliano is prioritising and preserving the timelessness of couture - for the love of clothes! The collection was born on the concept of reality and its shifting paradigm due to its volatile relationship to technology. Ah, one thought reality is a universal idea -unless you are a philosophy major/minor or following a journey of Socrates. But at the core, reality is no longer was it is anymore. For example, that Instagram feed of the perfect girl with the perfect boyfriend with the perfect french bull dog and perfect home in Hollywood hills is for you a standard of success. A perfect life which makes your own seem inferior. However, in her reality she is incredibly depressed, lonely, confused and self- conscious. A reality which is edited to look like a superior truth. Or another example, a proven fact or scientific evidence can now be claimed to be a falsehood or an alternative fact? Without legitimacy, what is real anymore - understood or portrayed? Technology has changed what reality is and has influenced individual interpretations of truth - which is very dangerous.Unlike what we see in the "real world" Galliano refused to hide behind a Mayfair filter and the lies. The Maison Margiela Artisanal collection was raw in technique and real in form. He is focused on the timelessness of couture something to last for ages, the finest of craft and no need to shift perception. This is what you got. The closest to a selfie moment were the multiple face motifs, with the crescendo being the face emerging from a smoky tulle rising from a long, tailored white coat. The artist behind this face is Benjamin Shine who emphasises the delicacy and movement. The collaboration took our breath away at face-value. "And that's the truth Ruth!"
In light of current events, Shakespeare’s beloved character Puck is not mistaken when saying “Lord, what fools these mortals be!” Entering into a midsummer night’s dream, presumable a “Wood Outside of Athens”, was too the setting of Maria Grazia Chiuri’s first couture show for the house of Dior. Her first RTW collection for Dior was met with mixed opinions and confusion on the direction of the house, and after this show I was personally left with more questions than answers. The beginning of the show was black and heavy. Victorian black full of sadness and mystery. The opening sequence featured reworking the bar jacket and transforming it to be more light due to fluid textures and shapes. Mystery was provided with hooded capes and beautiful masks by Stephen Jones adding a welcome splash of Venetian carnival. Would the collection have worked though without these masks? This heavy and dark interpretation with references true to the spirit of Dior was then eclipsed by bright and airy dresses we have all come to know at Chiuri's legacy at Valentino. She evoked a spirit of playfulness and innocence from childhood games, such as playing dress up in the woods. This latter division was magical and full of forest creatures fauna and flora. On hindsight this unnatural, blunt division seemed to cause a friction between the aesthetic of Maria Grazia and of Christian Dior. Of course Dior was only at the helm of his maison for 10 years but one wonders if the style each creative director adds should also be referenced and should a designer have autonomy to take control of his or her own aesthetic? The symbiosis does not feel like synergy yet with 2 different looks, thus causing confusing and a muddled image of the brand. Overall, there were moments of great beauty worthy of any adventure such as the Dior masked ball. A shame that such grand occasions are now mostly sponsored by big corporations. Perhaps we have used up all of our fairy dust after all.
According to my studies within sustainability and fashion, one of the biggest problems is that “sustainability isn't sexy.” Well, last year Karl Lagerfeld presented an eco-couture collection and now Viktor and Rolf celebrated “up-cycling.” Up-cycling within fashion has been around since the 1980’s kudos to Martin Margiela and is when past clothes are reworked to create a new style.The design duo referenced the Japanese pottery “Kintsugi” which highlights the concept of beauty in imperfection where pottery shards are glued together and cracks emphasised with bold color- creating a visually pleasing mosaic. Some of the clothes pieced together were from the 1940s and had new life breathed into them, ready for the high society of 2017. The collection was dubbed “Boulevard of Broken Dreams”, but unlike the Green Day classic, the overall effect was not emo-heart throb, it was playful and plastered genuine smiles towards the ingenuity. Even when everything seems to be broken you can find the beauty, the optimism, and piece the shatters together to create something even more inspiring. Reincarnation indeed.Header Image: Photo: Alessandro Garofalo / Indigital.tv Retrieved from Vogue.com[/av_textblock][/av_one_half][av_image src='http://www.modernmelange.com/wp-content/uploads/2017/02/AG17852.jpg' attachment='4153' attachment_size='full' align='center' animation='no-animation' styling='' hover='' link='' target='' caption='yes' font_size='' appearance='' overlay_opacity='0.4' overlay_color='#000000' overlay_text_color='#ffffff'][/av_image]
