As the snow falls, stores are stocking the new spring collections, made to bring a new purity to our wardrobes. Stark sixties graphics and shapes dominated many of the collections, with others looking to the essence of the nineties and their love of minimalism. This mood had been brewing for some time in reaction to the digital print explosion, and like the trends before, minimalism has its own specialists- namely Pheobe Philo at Celine, along with fresher faces on the London scene like Eudon Choi, JJS Lee and Lucas Nascimento. But fashion doesn't stay still for long, and spring hinted at a burgeoning backlash, with labels such as Altuzarra, Fendi, Erdem, presenting collections focused on texture- something I hoped to see more of in the Fall shows that started in New York this week.
All eyes were on Alexander Wang this week, as they always are, but this time they were straining to spy hints of what to expect from his debut collection at Balenciaga. However, his fall collection was very Wang, with no ballgowns or dramatic statements to say he had been studying the art of couture. A palette of greys, blacks, browns and the occasional navy brought Wang's usual urban edge, with a rich terracotta making appearances in pony skin and ponytails. As hoped, he looked to texture this season, using it to build volume by brushing mohair to stand tall, mottling its tones to look like rich fur. Unfortunately fur too made its way down the catwalk, mounting shoulders and encasing hands in homage to the giant fists and broad shoulders of the boxers that inspired Wang this season. Knits were cut and draped to wrap around the body in bulky shapes that will no doubt be paired with skinnier bottom halves off the catwalk for a more flattering look. Generous drape in soft wools created desirable outerwear but didn't work so well in the lighter fabrics, especially in the tops with cut-outs on the shoulders- the rippling lines much lesser executed. It causes some worry at how Wang can respect the heritage of Balenciaga, its founder an architect of fabric, a sculptor of form, known for his mastery of tailoring and cut.
Another unpleasant surprise came at the next show, where fur mittens and broadened shoulders also dominated Altuzarra's collection. It took the some of the novelty away from both Wang and Altuzarra's collections, which also shared colour palettes of grey, brown and black, the latter adding white and a shot of orange. It was a much more sculpted and tailored silhouette too, with the use of leather, vinyl, gaudy metallic buttons and slits giving it an all-too-eighties feel. His spring collection was my favourite of the season, and it was disappointing and puzzling to see him abandon the drape and embellishment that had made it beautiful.
Some similarities and repetitions could also be seen at Derek Lam's show, its clean lines and camel ponchos reminiscent of Celine, while the mosaic leather patchwork could easily have fitted into Givenchy's Pre-Fall collection. Despite the familiar feeling the show created, it was filled with desirable pieces and future classics, something Lam is known for. Graphic contrast lapels gave interest to peacoats, as macrame details did to suede shifts, while a generous cut gave sailor pants some swagger.
Graphic panels were also seen at Helmut Lang, some engineered using heat-transferred laser-cut film. Inspired by the recent Picasso exhibition at the Guggenheim, the patterns were also used in prints using a graphic black and white colourway, as well as a refreshing blue interpretation and on a lesser note, some peach. The designs worked best on the shorter outerwear and dresses, particularly in the asymmetrical and wrap-around pieces that brought an Oriental vibe. Sharply-cut trousers, boxy shapes and strong outerwear with contrast lapels featured throughout in leather, felt and wool, all sure to sell well to the label's loyal fans.
Speaking of fans, Jason Wu's high profile ones have boosted the designer's profile of late after Michelle Obama chose to wear one of his gowns to the Inauguration. And so, he got serious for fall, installing a chandelier as the centre point of his Park Avenue show, with clothing that followed suit. Shirt collars were high and buttoned severely, shoulders defined, waists nipped, and trousers tailored. Trousers were used to show he meant business but the more feminine looks were stronger- a flirty feather dress toughly belted was far superior to an overpowering fur coat of polar white. The delicate pleated looks and snake-print chiffon paired with tailored elements were other winners, while a black lace print on grey turned some pieces to office wear. Ironically, Wu's woman is stronger when she flaunts her femininity.
Prabal Gurung was more successful at tackling the idea of female strength, this season looking to Ukraine's Asgarda tribe of women trained in the martial arts as inspiration. Military colours of olive green and navy blue was used for the tailored pieces, sharp jackets feminized by peplums and cargo pants modernised in skinny styles. The designer's penchant for evening wear toughened up when styled with braided leather belts and buckled leather heels, while gold and red beading and brocade accents gave fabrics a folk touch. This collections proved Gurung's skills in both tailoring and drape, the latter only faltering in the rather muddy brown cocktail dresses that could have benefited from some of the leather accessories that had been used to such excellent effect.
Fall's strong woman could also be found at Rag & Bone, a place she was always at home. The collection began by looking at vintage flight suits and influenced by the uniforms of flight attendants and everyone else who works in aviation. Quilted leather, rubberized tweeds and coated knits were used with more traditional houndstooth wools, tweeds, silks, as well as hints of sportswear fabrics. The colour palette was also varied, featuring everything from the usual greys and blacks to magenta, neon orange and cobalt. By layering the pieces in varied textures, design duo Marcus Wainwright and David Neville made everything seem very wearable, ready to step on to the street, albeit in a very hip neighbourhood.
Utility was also in the air at Tibi, where a workwear inspired the usual suspects of outerwear, knitwear and denim. The former was strong and came quilted, while traditional cable patterns were elevated to dramatic effect on knitwear, and colour and print lent interest to the latter. Tailored cotton skirts and sheer layers with these pieces presented interesting ideas, but the idea of oversized leather shorts in winter weather left me feeling cold.
Meanwhile, at Victoria Beckham, practicality is part of the brand's appeal. A menswear-inspired collection shown at New York's Public Library was a testament to that, with substantial coats in plaids and fitted cocktail dresses in wool crepes being the more basic examples of Beckham's wearable collection. The collection was definitely not bland though, especially because of the clever use of colour- baby blue lines through the plaid, subtle tones of aubergine and midnight blue offered alternatives to basic blacks and greys, along with the more unusual choice of primrose yellow for two of the thirty looks. Funnel collars and calf-lengths were other subtle yet interesting design decisions, as was the cape-like cut of the final two tuxedo-style suits.
The tailored look continued at The Row, but as always with the Olsens, there were plenty of interesting twists. The styling was wonderfully unexpected, taking the new trend of turtle necks peeking above collars to a new level by layering outfits over a luxury onesie of ribbed cashmere, briefly appearing from beneath tailored trouser legs. Coats were strong and came in every length, the more unusual styles blended tailored parts with looser elements like a robe- fitting for the Olsen's knack at combining scruffy with polished, as seen in another coat decorated with pearl brooches designed by Brooke Neidich for Sidney Garber. Red ruffle mules, ivory silk jacquards of their own designs and the intricate beadwork on the final look gave the collection a subtle femininity, subtlety being the key to The Row's appeal.
With almost twice as many looks at 3.1 Philip Lim, the show lent to more experimentation and variety which, when utilised, really delivered. Inspired by biker chicks, Lim gave us the most obvious references of leather, which he cut beautifully into slick gilets, oversized asymmetrical coats and some killer heels that morphed into boots when worn over the knee like chaps. The oversized coats became more sophisticated in teal wool, dramatised by giant lapels, structured with the sharp tug of a belt. Volume stretched to baggy trousers, as with softly draped dresses in a less obvious print of wheat. Panelled leather skinnies and patterned track pants were clever interpretations of bikers whereas the embroidered denim could not be described as anything but tacky.
The tough attitude and penchant for the oversized also dominated the Theyskens' Theory show, this time driven by the idea of futuristic comfort, or as Olivier Theyskens put it, these were clothes comfortable enough to wear overnight on a spaceship. Theyskens certainly presented a modern woman, one who dares to wear her mannish blazer open with nothing underneath, even going as far as to drape her giant coat dangerously off her shoulders. Dark petrol blue, rich teal and deep forest green played well with the sombre palette of cream, grey and black, but save for some metallic sequins, there was little to suggest the supposed futuristic inspiration behind the collection. Sure, there was some quilting taken from spacesuits, but despite the vast quantity of elevated classic that Theyskens is so good at churning out, the show left me yearning for his more elaborate creations at Rochas and Nina Ricci.
The early years of Rodarte are ones I yearn for too and for fall, the Mulleavy sisters brought back some of the handcrafts that once formed the basis of their appeal. Hand-embroidered roses bloomed across bodices, beaded wings arched over shoulder blades, while legs swam through skirts of tie-dyed silk. Two years ago, the label might have made this combination work but proportions muddied the potential for brilliance, the garish prints distracting away from the delicate handwork, acid wash silks were rendered as tacky as their eighties inspiration when laid sheer over navels, interrupted by flouncy ruffles. In fact, it was the looks void of embellishment that worked best- oversized tailoring layered over wide silk skirts, subtle sharpness added by belts with barbed wire buckles. It seems that in the past few seasons of desperately trying to become commercially viable and produce wearable pieces, the Mulleavy sisters may have lost where they came from, and I don't mean Santa Cruz.
The peplum jackets and sexy pencil skirts that opened and featured prominently in the Oscar de la Renta show was evidence that the brand's designer in residence for the past three weeks, John Galliano, may have had quite an effect on the collection. Despite their elegant cut and beautifully draped necklines, these looks got a little repetitive, but they let the true highlight shine- the fabrics. Most obviously, the shocking pink and mulberry silks of the final two ballgowns, festooned with elaborate gold bullion embroidery. Then there were the hand cut, delicate ferns that crept over a chic lime green cocktail dress, the dramatic black, cream and scarlet period print that emblazoned a modern twinset, the leather filigree that framed the boxy shape of a cropped black jacket.. There were definitely some stale looks that suggested de la Renta might have lost his touch, but the embellishments reminded us why 2013 marked 50 successful years in the business.
Another brand, albeit a much younger one, that has become known for its inventive fabric manipulation is Proenza Schouler, each season wowing us with their unpredictable creative direction. The work of photographer John Divola was the inspiration behind the latest collection, and having described himself as looking between the abstract and the specific, he was a suitable reference point for the intelligent design duo. The show began quite clean, in the vein of fashion's new mood, monochrome outfits quite bare, made unique by clever seamlines and style details, but with softer, curved lines than the sharp 1960's lines popular elsewhere. Slowly, the essence of the brands appeal started to seep in- a black and white print of short twisting lines, bold like graffiti; followed by glistening chainmail made up of gunmetal chains over sophisticated wools, then a boucle tweed made up of woven strips of black and white leather, before a coated white knit lightly sprayed and speckled with black paint, paired with layers of black and white ostrich feathers. Textures old and new appeared on the runway- from the boys' favoured guipure lace to a newly-created laser-cute fabric created using ultrasonic welding. It's ironic that images of decay could inspire such vast amounts of new and fresh ideas.
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