I’ve regretted not posting a review of this show, so here I go. The Central Saint Martins’ M.A. Graduate collection is always a landmark of London Fashion Week, with its presentations having real reverberations on the future of fashion: these graduates were established talent with true promise- the cream of the independently emerging crop.
A collection that particularly caught my eye was that of Tamara Chung- her designs were simple, being almost futuristic in their minimalism and structure. Blocked colours and some contrasted detailing emphasised this idea, with asymmetry fusing with clean, set straight silhouettes to form a somehow effortless semblance of classicality and innovation. Here are some of what Chung has come up with, I’m really very pleased:
The colour mix is excellent- I like to see splashes like this because it shows Chung isn’t limiting herself and is free to explore her own boundaries: the use of such a bold colour is rare in the concept of stark minimalism but she does, in my opinion, do it well.
Marc Jacobs said that, after the huge afros, the travelling theme and colour-fest of Spring, he wanted to move Louis Vuitton into a more refined, rooted direction for their Fall collection. And so, with his seemingly unstoppable master touch, Jacobs launched into a gathering of soft, fifties-esque femininity made present by leather designs and bust-enhancing bodices.
Overall, it was all about luxurious textures, elegant shapes and a revisionist take on the trends. Dresses made of lace, fur embellished sweaters and heavy fabrics were cleverly used to further the collection’s undoubted sophistication. The use of faded florals was, thankfully, not monotonous- particularly with contrast black detailing. Clearly, Marc Jacobs has little trouble heading up an iconic brand, working hard to produce good clothes, season after season.
Nice.
I’m afraid to say that I’m dissapointed with Karl Lagerfeld’s latest collection for Chanel Ready-to-Wear. Although there were strong pieces, the whole operation just didn’t feel together. Something was off, but I can’t put my finger on it: I suppose, overall, I was expecting something better. The feeling, though, was ice and snow: the Chanel girl was going to be a ski-bunny this Winter. The melting iceberg in the centre stage was undoubtedly a political comment regarding the Copenhagen summit, whilst the models flitted around, walking on water.
Fur was a huge factor in the collection: fur trims, fur linings, fur skirts, fur trousers, fur coats- everything was in fur. At the end of the show, layered chiffon dresses exuded classic femininity and grace- a classical move. Best? A Native-American inspired suit with matching mittens and a fur skirt. As I said before, I was ashamed to say that I was looking for more from this collection. You win some, you lose some.
PS: Boots, leather and zips.
Oh, how I adore thee, Hannah MacGibbon. The British designer has done wonders at Chloé- she’s turned me into a stumbling fool over her continually amazing work and I am, once more, glad to see another fantastic collection.
For Autumn/Winter, Chloé has moved softly on from Pre-Fall via the recur of tans, masculine coats fused with the idea of simplistic, plain femininity. Brown leather skirts, tassel embellishments and dark accessories evoked a sense of the Western America of horseback riding and cowboys, whilst knitted designs formed a nostalgic, retro edge. My favourite pieces included a practical but luxurious turtleneck, a coat with a fur-trimmed hood and the variety of high-waisted trousers. A delight.
Great boots, too.
It was an extremely sad, harrowing day for fashion- and the world- when British designer Alexander McQueen was discovered dead last month. The man was largely considered a creative genius, with his Spring 2010 collection being one of masterpiece and innovation.
His Autumn/Winter 2010 collection was modest in size- there were sixteen nearly completed pieces that were expertly finished by his dedicated design staff. The clothes were revealed, in private, to an upper echelon of fashion journalists, in a show that can be described only as a tribute to the mastery of McQueen.
The theme was mystical: glittering embellishments and pleated silk skirts worked with patterns and printed designs to create an ethnic feel: the prints were steeped in the history and antiquity of the East. A very moving collection that does, undoubtedly, have very sad overtones. Fashion has a lost a God, and this proves it. Long Live McQueen.
Wonderful.
