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
And opening the 2018 Spring Couture collections is but of course Schiaparelli. If it were true that a debutant can set the tone of the season, one can deduce a desire for nature, the organic, and in short- the real. Bertrand Guyon argues for a return for authenticity, not meaningless hype. Enough with the retina-burning screens and swipes in all directions. Guyon is bringing us back to the roots - in a way to humanity’s roots: back to Africa. In regards to the continent, the designer says he wasn’t referring to a particular culture but more a longing for a direct relationship to nature, clearly outlined in the vast choice of materials including raw linens, silks, straw raffia, and driftwood. The natural purity reflected throughout the collection provided a balance which was equally as raw as it was refined, a welcome contrast to a clichéd couture connotation for prim and proper. Another well-executed balance was the relationship between day and evening wear, where both sets complimented each other well. While the daywear was particularly strong, including the grey-blue Prince of Wales check dress, couture clients are sure to queue for the evening wear numbers which softly seduce the soul of the eye of the beholder and the (lucky) wearer. Even in the most organic of contexts, shocking pink is always a Schiaparelli prerequisite and here it was not bold as expected - it refreshed like a breath of crisp mountain air - a very bearable lightness of pink. An additional point which stood out for me was the promotion of model diversity - in race and age- on a couture runway - a big deal in terms of moving forward. This Out of Africa collection was a success and a strong start to the season.
It was the friction between “the artificial and the organic” which made for an absorbing narrative at Iris Van Herpen. This season was based on “Ludi Naturae” or “Games of Nature” with models slinking down the runway looking like magnificent otherworldly creatures - thanks to the familiar futuristic materials resembling reptile scales. The outlandish creatures from deep within another galaxy were complete with the alien strut courtesy of sky-high geisha-esque platform sandals. Like Schiaparelli who embraced the organic, Van Herpen too kept to a natural palette of subtle browns, gold, and teal. However, it was what was above the models’ heads which set the tone of the show: large, paper-thin cellulose, floating sculptures by Dutch artist Peter Gentenaar. The shapes provided the context to the liberated silhouettes on the ground and made the clothes appear larger than life; collective pieces part of an entire art installation.
Today marks Maria Grazia Chiuri’s third couture collection for Christian Dior, and it was without a doubt, best to date and a reaffirmation that yes she is the right gal for the job. This was Chiuri’s first couture home run for the house and has proved that she can not only deliver clothes which are short-term sell-out sensations and trendsetters (the tulle strap dresses, the statement t-shirts, the newsboy navy caps…) but similar to her reign at Valentino together with Pierpaolo Piccioli, Chiuri can conjure iconic pieces; timeless craft yet capture the je ne sais quoi of the present. The collection took influence from surrealism (surrealist clothes for surrealist times no?) inspired by longtime Dior friend, Leonor Fini. Fini, the infamous Argentinian surrealist painter, designer, illustrator, and author known for her representations of powerful women. The brilliance of this collection was that the feminist spirit was not branded nor stifled- the symbolism and mastery were all in the detail. The entire collection would be worn by a confident, independent woman. A woman of intrigue, mystery, risk, and perhaps a little naughtiness underneath those delicious shadowy masks by Stephen Jones (very appropriate for tonight’s Dior Masked Ball). In sum, we saw a beautiful friction between the rigid masculine forms and the light femininity captured by tulle and organza, which played well onto a background of optical illusions. The experimentation in form and material paid off- Brava!
