What you see is what you get at Chloé, and the tactic seems to work with a new fan base, who rocked up to the show in head-to-toe looks. The collection, Ramsay-Levi explained, was divided into three parts: nomadic (a buzzword this season), “old Ibiza,” and finally the goddess dresses that closed the show, inspired by Pasolini’s Medea. Her de-intellectualisation of fashion is interesting in that it’s in no way uninformed or silly, just miles away from the complicated and sometimes wanky narratives in which so many designers love to indulge. It makes for instantly shoppable fashion that needs no dissecting, analysis, or interpretation. Other, of course, than why Ramsay-Levi chose the reference in the first place? “I love hippies and I think it’s a great counter-culture. It’s inspiring still today because it’s people who reboot to a new zero; an idea of how you can reinvent life, your link to sensuality, to community. I think it’s still very relevant and I want to bring it to the city.”
Today’s show was an homage to the mutinists: the non-conformist line-up of faces which John Galliano has appointed to front his new fragrance (Teddy Quinlivan, Sasha Lane, Willow Smith, Hanne Gaby Odiele, Princess Nokia and Molly Bair). But also to the people he now surrounds himself with on daily basis. Contradicting the idea of a designer in an ivory tower, Galliano populates the Margiela atelier with students on work experience placements: the small team of stagiaires who assist on his collections is involved in the entire process of its creation, as well as opening his eyes to their ways of seeing the world. He is a fervid Instagrammer, seeking out young people like Javier de la Blanca to collaborate with – “Obsessed… obsessed!” he exclaims, on his seasonally-released podcast. “The freedom! The shapes he’s throwing!” – and invites them into his world (he flew Javier in from Spain to walk his runway to express the “attitude, individuality and defiance” that Galliano so loves about him).
It is that open-mindedness, that earnest, expressive liberation that permeated this collection so tangibly. John Galliano’s career has been fraught with various difficulties, but since joining Margiela he has reconnected with the excitable spirit of his youth, with the vitality he felt upon arriving at Central Saint Martins and finding his people, both there and in the clubs of Soho. “The whole world changed when I found likeminded people; that’s when I started to connect,” he recalled. “[My mutinists] being who they really are is something that I find really inspiring because for so long I couldn’t be who I wanted to be… That’s why now, when I see such self-expression, it’s a joy for me.”
It’s been 30 years since Jean Paul Gaultier put men in skirts here in Paris, but the image of the male body in a dress is no less stigmatised in the public forum today, even if we like to think so. That’s why the moment when Michele sent out a buzz-cut boy with tattoos and tennis socks in a slinky baroque-print scarf dress and a big backpack felt momentous. In this age of gender fluidity, a man in a dress should be the most insignificant thing to us, but it still got the camera phones going like no other look in the collection. It was great. It helped to fuel Michele’s most sexually loaded collection to date, which had men in super lowcut leotards and leather and rhinestone dance belt cups – in most sinister Clockwork Orange style – and opened with a horror short film that featured a man and a woman torching their tongues with a lighter over a bidet. Must have been Monday.
GUCCI SPRING SUMMER 2019
Gucci moved its presentation to the first evening of the Paris shows to close a French trilogy that started with a pre-fall collection shot in Paris locations significant to 1968 and took out the Alyscamps cemetery in Arles for its cruise show. Alessandro Michele’s choice of venue, the fabled Le Palace nightclub and theatre in Montmartre – so gritty and dusty Gucci had to change the carpet – was a perfectly suitable choice for his underground elves. But it was the noticeable progress of Michele’s plentiful shtick and his bold styling moves that made this collection more compelling than his usual theatre.
It was in homage to Leo and Perla, who didn’t just have the best cat names ever but set Italian experimental theatre on fire with their provocative takes on Shakespeare in the 1960s. Michele’s typically indecipherable show notes came with much ado about Leo de Berardinis and Perla Peragallo, but their impact on the collection seemed to be rooted in the confrontational, the alluring and the highly sexualised. Those tendencies were an unexpected and great move on Michele’s part; more of that, please, sir. “I realised something when I was going back to my room,” he said after the curtain had closed on his theatre and bows were taken.
For this spring collection, unveiled in a week when Etro, in celebration of its 50th birthday, is also putting on an exhibition at Milan’s MUDEC museum, the holiday vibe was literal. Etro took the surfer girl - albeit primed for a 5-star vacation - as her muse, and threw some paisley-patterned surfboards down the catwalk, plus a real life champion surfer, the implausibly beautiful Victoria Vergara, to up the street cred.
Surfer girls seem to have seeped into fashion’s collective consciousness this season, most obviously at Calvin Klein, but also at Prada (those knitted surfer bootie/sandal hybrids) and Michael Kors (sunset printed knits) but none was as literal as Etro’s take. Sun-kissed and ready-salted, this was a holiday wardrobe heading on a Pacific jaunt with pit stops in California, Hawaii, and Japan. It comprised racks of zesty-coloured silk pyjama sets and crochet mini dresses, as well as towelling ponchos and patchwork cardigans to throw over sunburnt shoulders. Shells dripped from earrings and necks, wrists and ankles, lingering above little surf shoes and brocade slides. Evening options abounded - embroidered and patterned wrap dresses plus chiffon pleated ankle-grazers. “Good vibes,” was Etro’s verdict.
This made the highlight of today’s Tod’s show - a roomy, paper-thin leather shirt dress on the Italian Vittoria Ceretti - an altogether more impressive feat. Leather shirts don’t exactly scream “warm weather staple” but in the handling of the Tod’s team, specifically rendered in a peachy pink and worn with flat sandals, it looked just the thing for the front row, many of whom have been surprised by the sweltering heat this week in sunny Italy.
Elsewhere, the design team majored in a preppy, Italian-who’s-switched-Capri-for-the-Hamptons aesthetic that combined practicality with a modish luxury. Leather pants were cut slim and cropped at the ankle. Suede jackets with energising stripes sat neatly above politely slit pencil skirts. Most of the shoes were flat, acessorized with exuberant sprays of tassels, which lent a no-nonsense air to the collection. Shirt dresses were tailored and cinched at the waist with an attractive Tod’s signature, the double T belt, or wrapped from the waist down. The bags had silver slicks of hardware and plaited loop handles, sometimes in raffia, that perfectly summed up the season’s swoon for handicraft.
Vivetta has created a technicolor dream for its SS19 collection, pastel tones with fairytale, visionary fantasy, infused with an eccentric and enchanting glamour, painted in delicate hues with irony and grace.Candid swans rest on small tunics in painted inlay macramé, or on long romantic crocheted dresses; knots of blackberries in Swarovski crystals, glisten on impalpable cape dresses like clouds of degradé tulle; pretty butterflies seem to palpitate on fragile tulle bodices embroidered by hand with fringes of beads and feathers, which bloom on taffeta skirts thickly pleated as corollas of flowers grown in a fabulous greenhouse, or accompany denim trousers richly decorated with precious jewel-like embroidery.A pop rainbow, inspired by Peter Max’s 70s psychedelic graphics, illuminates suits in Nappa leather, inlaid with eccentrically Western flavour; wide skirts in sumptuous taffeta or dust coats with Elizabethan sleeves veiled by a puff of tulle are studded with magical galaxies of shiny stars.Bouquets of hydrangeas bloom on mini-dresses draped in technical organza with a liquid effect, enriched with frills and rosettes, seducing in their theatrical yet simultaneously naive glamour; fanciful blooms decorate fluffy pouf skirts worn with candid poplin shirts or balloon dresses light like meringues.
This collection is an invitation to play together - says Vivetta Ponti, founder and designer of the brand - In my illusory and smiling world grace and fantasy triumph. As if a spell transfigured the reality, making it magical. A surreal short film that never fails the happy ending.A warm, childish sense of humour lies like a breath on the striped poplin dresses in sweet macaron shades; draped tunics are created by transforming classic men’s shirts, whose sleeves become pleated skirts or whose cuffs are wrapped around necklines - as well as contrasting bows on clean poplin blouses or cut-out inlays on palazzo trousers revealing the outline of a face.Vivetta invites us to take part in this game of illusions and smiles, in this world where grace and fantasy triumph, in a reality that, transfigured in some spell, becomes magical and surreal as in a film with a happy ending.
Styling by Georgia Tal
Production & Direction by RANDOM
Casting by Caterina Matteucci @CM Casting
Hair by Beppe D’Elia using l’Oreal Professional for Beautick
Make up by Beautick
Nails by MH artist
Music by Dorian Grey
Sunglasses by Poppy Lissiman
Miuccia Prada wanted to represent the clash between these two opposites. That’s what’s happening in the reality out there.” She may have had to rejig a few proposals in recent seasons to get her company’s growth back in the game. A few reissued classics. Banana shirts everyone’s wearing. Something for the fans. Now she’s up by nine percent compared to three last year, but her time in the spotlight is never going to be about that. Mrs Prada is at heart a tastemaker, but her ambitions reach much further than influencing what handbag you might want to buy next season. This collection was pure politics. She detected the cliché codes of the left and the right. Tie dye vs. crystal embellishment. Swimsuit tops vs. chiffon blouses. Miniskirts vs. tennis skirts. T-shirts vs. duchess silk skirts.
The latter combo made up her favourite looks in the collection: a literal meeting between casual and formal, or liberal and conservative. “I tried to break the rules,” she said, and she wasn’t simply referring to formal codes. “When it’s too much no one will embrace it: too much fantasy, too much craziness…” It made for a certain drabness, no doubt influenced by Mrs Prada’s political mood. Sometimes she doubled up on the same codes – classic with classic, irreverent with irreverent – in the search of “something new,” a key objective in the challenge of retaining the revenue that’s back on track for her company. The dainty nylon cabans, swimwear-style cut-out knitwear, or the somewhat heart-shaped red handbags were all viable contenders for next-season big sellers, while Prada’s prints tend to hit a homerun with existing fan bases. She introduced tie dye and psychedelic motifs on skirts and minidresses, alongside a vintage print with silhouettes of women and men. And there was a fair amount of youth to the affair, in cutesy baby doll dresses, Alice bands, and tops cut like swimsuits; not to mention the branding that makes millennial hearts grow fonder.
Fendi is one of the houses to flex its visual brand value in a major way over recent seasons, catering to young generations’ thirst for prized possessions like branded bags, trainers and even socks. Logos that used to belong mainly on accessories and the odd T-shirt are now sprinkled over everything from hoodies to skirts by the bucket load, effectively making garments hot commodities on par with leather goods, price tags very much in tow. This season Karl Lagerfeld and Silvia Venturini Fendi took that development one step further. Instead of letting the clothes inform the bags, they worked the other way around, “looking at things from a different perspective,” as Silvia said.“We wanted to have functional clothing. Not just for occasion. We wanted something for everyday life: the normal woman, the active woman. A real wardrobe,” she explained. Adwoa opened the show in a transparent coat with bonded brown leather panels and pockets, which was literally the garment take on the bag she was holding. Edie modelled a tan leather coat with multi pockets moulded into the leather as if it were a utility bag. And Kendall sported the Gen Z trend for wearing a bum bag over the shoulder, pairing it with an oversized white utility jacket with massive pockets embossed with Fendi’s double-F logo. “It’s very much about real life. As women we have these big bags and you can’t find your phone and it’s ringing,” Silvia illustrated, giving particular attention to all the mobile phone and key sized pockets that appeared on garments, belts and bags. The idea might be universally appealing but the clothes seemed aimed at no one more than the young generations and their love of branded accessories.
Woven crochet dresses with beaded details were crying out for Ibizan shores; sharply tailored suiting - a Natasa Cagalj specialty - demanded Speedy Boarding. Also tempting were the jersey dresses, ruched at the hips, and the floor-skimming slips overlaid with a network of woven cords, left to fly loose from the bust down.The Philo-shaped gap in fashion’s current line-up has created an opportunity for minimalists with a crafty bent, and Cagalj staked her claim on the territory convincingly. Utilitarian coats in navy, khaki and sand looked ideal city cover-ups, while sharp blazers in placid blues and pebbly greys, and gently oversized cuts, were serious contenders for this season’s go-anywhere jacket. Lots to like here.
“I feel that fashion has somehow lost its way a bit, and it is easy for all of us to be swept up in trends that have lost touch with what women and men want to actually wear,” Ford stated. “So, I did not want to make clothes that were ironic or clever, but simply clothes that were beautiful.” If the breakdown mid-show, after which frilly floor-length gowns emerged, signified a page-turn between day and eveningwear, you’d have to be a pretty bold day-dresser to embrace the patent crocodile skirt-suits and lace bodies Ford proposed in the first half of the collection. But perhaps that’s what it was all about: a departure from marketeer-manipulated, trend-driven, something-for-everyone fashion and runway commerciality, and instead a return to the authentic vision of a designer, whose very same vision changed the face of fashion twenty years ago. “I decided to take some time to think about why I wanted to become a fashion designer and what it was that I loved doing, and consequently what I feel men and women really want in their lives,” Ford said.
“I became a fashion designer because I wanted to make men and women feel more beautiful and to empower them with a feeling of confidence. A feeling of knowing that they looked their best and could then present their best selves to the world. I wanted to make clothes that were flattering; that make one look taller and slimmer and more beautiful or more handsome.”
Designer, Julie de Libran had looked back to her own formative fashion years for inspiration and her obsession with post-punk, new wave and eighties pop music and the clothes that came with them. Describing herself as a shy young woman, she said, “this is how I found my voice and spoke: through fashion.”
De Libran had a reason for her wholehearted embrace of nostalgia. This was an anniversary collection. Fifty years ago, Sonia Rykiel opened her first boutique in Saint-Germain-de-Prés and her brand will forever be associated with an emancipated version of flirty French coquettishness. At times her laughing, joyful groups of models, in striped knit maxi dresses or little modish sequin shifts looked like they were in the girl group version of The Monkees but in fact the models were only the warm up act.
As the last one took to the runway, stage hands placed three microphones onto the catwalk. Then Bananarama walked on and began belting out their greatest hits. Add some epic confetti cannons into the mix and the atmosphere quickly turned into a concert and after party.
Natacha Ramsay-Levi drastically opened up her silhouette: “large, wide, very comfortable, to have volume, to be generous,” she said in a preview on Wednesday. The designer found her inspiration in characters bred through cinema, from actresses like Stéphane Audran to Anjelica Huston, desiring to capture how “cinema can give depth to the psychology of a character.”
She expressed it as a philosophy relating to women’s conversations with their own wardrobes: how one tweaks one’s own character through dress. “She really plays with herself. It’s her going into different characters to enhance herself. When you get dressed that’s how you want to communicate with other people,” Ramsay-Levi said of her season muse. Translated into jodhpurs and bohemian dresses with riding skirts cascading from below the hips, it made for less effortless and more complex silhouettes than last season’s approachable tailoring (which is already making appearances in the wardrobes of show-goers). Medieval elements - embellishment, quilting and heels - found their way into the collection courtesy of Ramsay-Levi’s love of 1970s queen Anjelica Huston, who appeared in the film A Walk with Love and Death set in the fourteenth century.
The collection was rooted in sportswear, and there was plenty to desire with shearling hoodies, suede tracksuits, leather utility shirts and parkas all coming in warm buttery shaded of vanilla, marigold and gingersnap. Bags were and large shopper-style or small and worn on belts around the waist or clipped to a larger tote. The enveloping, sporty cuts gave it a feeling of modernity but what really struck home was the integrity of the collection.
As always, there were lots of neat things to wear that will end up on wish lists in New York and beyond: low-slung Nineties skirts, a languid ketchup red silk dress, oversized navy ribbed sweaters layered two at a time, a V-neck over a roll-neck, and thrown over more silk. There were multiple updates on Tibi’s golden goose, the throw-it-on dress with the nifty detail - a drawstring, a ruched neck, a smattering of sequins - and some well-cut pairs of cargo trousers. At times it felt a little reliant on old ideas - pink and red is a little flat for autumn, having showed up on multiple catwalks over the last few seasons - but that won’t bother the Tibi heartland. Lots to like here.
There were orbital silver dresses crafted in Saturnian rings, lurex and lamé to make the heart grow fonder, and plexi-glass encrusted mosaic dresses that went rather well with Scott's collaboration du jour: Moon Boots. "I thought how fun and ridiculous skyscraper Moon Boots would be," he reflected, so the sky became his limit. It's a fact that troubling times breed creative exuberance, but another cliché is that of the escapism that naturally follows. After the political shockwaves fashion had to deal with last year it may have been the case then, but you'd like to think that the phase we're entering now as a creative industry is more constructive than escapist. "There's so much serious shit going on in the world, the last thing I wanna be is another one of them," Scott said, hitting the nail on the head. "The only thing I wanna do is bring a little bit of joy. A smile is contagious." To Scott, it's about changing mindsets, not escaping them.
At the men's shows in January, the designer presented a heavily fetishised collection for Moschino - where he also serves as creative director - in which he took bondage to its gimp-suited extreme. Observing a model in one such shiny black PVC suit backstage, his face fully covered in the mask, Scott smiled and asked, "Would you find him aggressive? I don't know, I find him quite cute." His show on Thursday evening in New York was the subversive take on that same upside-down notion. Behind all the pink fluff and poly-urethane was a slightly twisted sense of the perverse; an illustration, perhaps, of the volatile and monumental times in which we now find ourselves.
There were 1960s up-‘dos and ornamented bodies similar to Barbarella’s, but had Fonda made the trek to Brooklyn for the elaborate show, chances are the collection – rooted in snow sports – would have reminded her more of certain James Bond films. (Well, if 007 had had a penchant for gangster rap and Yeti boots.) It’s hard to think of that period of Fonda’s life without thinking of the political activism she engaged in. Watching Plein’s show – where a UFO that hovered over a space filled with artificial snow delivered Irina Shayk to a real robot, who then serenaded her with Frank Sinatra’s Fly Me to the Moon surrounded by Batman-style snowmobiles and Migos and friends rapping away – you wondered if Plein had detected a parallel between Space Age and our current zeitgeist. The 1960s was a time of socio-political upheaval and enough-is-enough movements that changed the world.
For FW18 collection, PRIVATE POLICY dedicated it to the bravery of Charlie. The designer duo also want to stand up for what is right. Anti nuclear weapon, Anti dictatorship, Anti ignorance! They mix military uni- form with the NEW YORK youth iconic silhouettes and fabrication. They want to dress up their fellow revolutionaries to be empowered to fight for faith in Love and Equality.