With Paris fashion week starting today, little is the time to digest the hundreds of shows that already took place in New York, London and Milan. Luckily, we compiled a list of what (according to our earnest taste) caught our eyes during the first three weeks of shows.
What would one do without our earnest taste.
Alessandro Michele at Gucci
To feed our pulsating obsession with Michele’s first womenswear collection for the Italian griffe, we collectively decided to watch “The Director” a documentary from 2013 charting the life and times of Frida Giannini at the helm of Gucci, hoping to catch a glimpse of the new, relatively little-known creative director at work. The documentary delivers well and it also features a small interview with the director-to-be, but it also leaves you wondering on the caducity of life and career in an industry as Machiavellian as the fashion industry.
In other news, this Fall-Winter collection excited us beyond belief. As you can probably notice in our complete review here.
Unless you actually happen to be Phoebe Philo, please stop trying to be Phoebe Philo
It’s a matter of manners, isn’t it? Emulation is the highest for of flattery, but trying to cash-in on someone else’s work and vision just cannot be considered an exercise in neither etiquette or ethic. Whereas little can be done to slow down High-Street retailers and their hunger for catwalk-to-shopfloor fashion ripoffs, it would be just so much more tasteful if brands with an existing USP could stick to their own aesthetic and customer’s needs; If Philo is a designer who has a precise and hugely approachable conception of chic, distorting your own brand to make it adhere to another designer’s trademark is just not chic at all. There’s Zara for that, thank you very much.
The Row and Zoran
After our vocal j’accuse to the brands that are trying too literally to emulate another designer’s work, we would like to make a general exception for the Olsen twin’s latest collection at The Row; Being partial is not a good attitude when working in publishing (let alone fashion publishing), but we feel this very collection is more of an homage than a downright copy: Instead of milking Fashion’s inevitable short-term memory, the designers went back and studied the work of Zoran, a master of uncluttered elegance that in the 1980’s preceded the widespread fascination with minimalism of the 1990’s. This new collection shows an in-depth knowledge of The Row’s customer and the clothes it demands for the next winter season.
To the trained eye the show conveyed an altogether different kind of simplicity, one that echoes a specific All-American approach to comfort clothing and stripped-back luxury.
Read our complete review here.
They’re back! Without really knocking at anyone’s door, the Eighties made some key appearances at the Milan shows. Back in the early 2000’s they were the main trend for a rather prolonged period of time, and now with the Internet stroking some major chords in the collective nostalgia we are not surprised to see printed leggings and knee-high leather boots making a loud comeback on the runway. The interesting detail about this return (“it’s not a comeback, it’s a return“), is how apparently dissonant it is when related to the whimsical main-trend of flared jeans and 1970’s excess. Are the 80’s here to stay then? It would seem so, even though at this stage they really do need a fine-tuning to a more contemporary, if not relevant, sense of glamour.
J.W Anderson’s New Wave
One can’t talk about the apparent return of the Eighties without mentioning the designer who would seem responsible for its comeback: Mr. Anderson shown his latest collection during a London Fashion Week that seen a somewhat confused mix of eras and styles coming together rather tiresomely.
The muddled pot-pourri of references seen in many of the other shows helped Mr. Anderson’s vision to come across as clear and unexpected, deservedly generating both buzz and excitement. This collection ushered in a look that feels truly new, a panacea to what this Season has been really lacking.
Michael Kors’ American Dreamy
Nowadays, the creation of a fully-rounded fashion image is quite the goal to be achieved, but Michael Kors ability to conjure fantasy and reality in a collection seems to be part of his natural savoir-fare: An accomplished businessman, the designer is aware of the needs of his clientele for clothes that are both easy to wear and that also have a specific identity: The Michael Kors woman for fall winter 2015 is an individual with a very particular idea of elegance; If on one hand she is not very fussed with it, on the other she also knows that it is almost impossible to escape it. She is a woman who is aware of the importance of what other people think, but she is also too taken with her own thoughts to give herself in completely.
MaxMara in the run for chicest show of the season
Purportedly inspired by the photographies George Barris took of Marylin Monroe on the beach in 1962, the collection insinuates and finds it place in our guide to the most crucial points of the season so far: Without really having connotations that strongly represent the zeitgeist, or maybe some hints to a shift in fashion culture as a whole, this show just strikes us for its realistic chic and its unabashed sprezzatura. Even if the production values of a MaxMara show are always at the higher end of the spectrum, this season the Italian house presented us with a collection that just felt so easy, so natural that it would have been heresy not to include it in this list: Styling is a crucial component of this show, but its hand feels light, as it just doesn’t distract from the clear image the brand is presenting us. It is hard to think of any reasons these clothes would be recognised as anything less than desirable.
A special mention goes to the casting director: Bravo!
By Matteo Sarti