Throwback Fun

The eighties is back – so we hear. Though whether that’s a good thing is another matter. Either way, Paul and Joe took to 80s Miami for their S/S16 collection riffing on, amongst other things, Miami Vice, Magnum P.I. and, of course, Scarface. Yep, Brian De Palma’s 1983, blood-splattered take on the American Dream has always been a touchstone in Hip-Hop, but not quite so often as a high-fashion influence. Paul and Joe, though, saturate their designs this season with the pastel shades and palm leaves so familiar from that movie.

Coke-Baron-Chic

A pale blue suit, for example, worn over a camp-collar, palm-print shirt has Tony Montana written all over it – though the cut is more elegant and the shirt collar not so offensively sprawled over the lapels. The same print found itself on skimpy swimwear (very Miami Beach starlet), a long dress with a plunging neckline – for showing off that coke-white, Michelle Pfeiffer complexion – and a number of other deliciously excessive pieces.

Push it to the Limit

It wasn’t all pastel-pastiche though. There were metallic bombers with matching gathered-hem trousers which would slide seamlessly into the 2015 streetwear-luxe aesthetic; a black shawl lapel tuxedo with some bejewled detailing that exuded evening-wear chic, and a little sequined number that had a nice touch of Saint Laurent rebelliousness to it. Admittedly, there were also graphic t shirts that pushed home the Miami vibe with little subtlety, but subtlety was never the 80s’ strong suit anyway, so it’s only right that this collection wasn’t either.

Words: Benji Walters

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Goals

This was Kym Ellery’s first show on the Paris schedule. In her specifically created A3 ‘art book’ handed to press, she expressed her gratitude to all of her supporters for their aid on her journey as a designer from Perth to Paris. Amid this text, a line reads, ‘in a time when the many voices of feminism are being heard, our goal remains the same – to create garments for women of intelligence and empower them’. And this is it. In a world, and on a schedule, where so many male designers take the wheel at the industry’s biggest houses it is easily forgotten that no one knows how to design for women better than a woman. Looking to brands such as Celine, Prada, Westwood, Stella – and now Ellery – it is here that female led design creates truly wearable, functional, beautiful – and sexy – pieces. There is a different sort of energy to these clothes – they aren’t unrealistic or pitted only at certain ideals of what women are told to be – they feel diverse, representative, and really wearable.

Up the Volume

Rather than nipping in, accentuation was brought to the body through adding volume. Billowing flare sleeves were taped at the elbow, with the same at the knee. Giant paper-bag waists were exaggerated – still drawing attention to the midriff but now through a cluster of fabric. Dresses were thick strap and cut straight across the chest, before empire-lining out in heavy fabrics to the floor. Creams, blacks and metallics were the focus, while hardware came in the form of oversized circular rivets and chunked-up silver zips. These were placed often at random – this was not about revealing the female body, nor about covering it. This metal work, combined with the non-body-con cuts, worked in tandem to draw attention to the work as a whole, rather than a cleavage, a thigh, or a lower back.

Ruffled Up

Cascading pleating featured throughout – across the body in diagonals, and drawn tighter or looser by hanging fabric bands. Here is presented an element of choice – looser or tighter – your call. A metallic foil-like fabric was body-form, but not tight; it moved almost separately from the body, seen in three dresses either in gold or black. This was standout in terms of garment; but the real work of art here is the intelligence and care taken with all fabric. Quality could be seen from far away – velvets, silks, cottons and leathers were delicate and graceful yet full of punch and substance. These fashion oxymorons are usually complete garbage, but Kym Ellery intelligently designed a massively forward thinking collection – both luxury and wearable. To next season!

Photographer: Thurstan Redding

Words: Tom Rasmussen

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First Class

Karl invited us to fly with Double C airlines this SS16, and it was anything but coach. This is a skill Lagerfeld has in incomparable measure – an ability to make even the most drastically mundane situations skyrocket to 32,000 feet of pure Chanel pleasure. The idiosyncracies of the idyllic airport lounge were captured to the letter, and for a house of more rookie status it would be a worry that form would overshadow content – but not KL, never KL. The moment Edie Campbell stepped out with her rolling luggage and pastel-y pant suit, the whole world was in lift off. For the attraction of Chanel is, and always has been, this ability to buy into a world created for their wearers – much like many of the big brands. But this is a slice of pie only available to the financially elite – the money spent on this spectacle alone is really quite overwhelming, and although this world is alluring – it’s also one of vicious capitalism which brings with it very little beyond looking the part. There is no social awareness, even in Chanel’s previous apparently more political shows (which missed the mark to say the least), but it’s a lot to ask of a man who’s cat has more Twitter followers than Pussy Riot, right?

Rolling in the Chic

Accessories are the flotation device of a brand like Chanel, whose price-point is up in the clouds – and there were no holds barred here. Rolling quilted luggage, stiff-peaked snap-backs, light up platform sandals and those aviation visor-cum-mirrored-sleep-mask glasses will fly off the shelves. Accessories were heavily themed, yet cleverly stand alone – obviously the offering works sans airport – but with so much major designer retail moving to the world’s most fabulous terminals, Chanel’s SS16 collection is the ultimate in destination shopping – pre and post security.

Prints pour le Printemps

Double breasted tweeds, crystal covered jackets and PVC space heels were standout. But in a collection of about 100 looks, the prints and patterns were the most memorable. Flowing chiffon tier skirt dresses were covered in yellow or blue airport screen letters, while cartoon planes in reds or whites were woven into fine knit tracksuits. A high shine pink silk, which looked like babydoll plastic, formed Victorian inspired super sweet dresses;  while super-bright floral ribbons atop white backgrounds gave structural lines to sweet, simple garments. Next Spring there’s just one way to fly. Chocks away.

Words: Tom Rasmussen

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Polka Dots and Chiffon Dreams

The collection begins as a seemingly simple (yet alluring) palette of black, navy and whites, which soon transcends into another mood altogether of royal blue with pangs of mustard yellow. These two entities are not worlds apart though, as designer Bill Gaytten continues with the use of luxuriously floating chiffon and a polka dot motif. It doesn’t get tiresome either. Although used in a horde of variables, it is the polka dot on chiffon combo itself, which makes for the most likeable looks this season. Gaytten doesn’t shoebox himself into one formula and it’s proven in his composition; he’s made just as much use of elongated streamlined shapes as he has done with flirty, girly frills. Beyond the staples, we see SS16’s most popular material – lace. It’s dabbled all around John Galliano SS16 – replacing cut out panels, the upper-half of dresses and subtle, understated bust slips that sneak through plunge cuts and transparent tops.

Household Cavalry Helmets

In their own space, Gaytten’s dresses are flattering, tasteful and feminine, but that’s perhaps not how you’d go about describing the collection as a whole. There’s another side to the frills and fringes – the John Galliano aesthetic this season has a darker but playful edge. You only need to look as far as the Household Calvary helmets cropping up on selected models, which any London tourist would recognise from the guards of Buckingham Palace. Perhaps not your usual choice of headgear, but they do tie in to the military/horse-guard jackets and the slick masculine cut trousers which sit on the hip bone.

Since Gaytten took up his residency as the designer of John Galliano (after Galliano himself departed), Gaytten has been known for his take on 60’s fashion which recent years has been thrown into a fully fledged revival. When The Beatle’s classic, ‘Twist and Shout’ fired up over the SS16 catwalk, it would have been anyone’s guess that he was at it again. There are certainly some 60’s references in Gaytten’s design structure, but it is undeniably discreet. Instead, we have a collection that is in line with modern tastes but still plays on some past-proven successes (long live the studded leather biker jacket!)

Words: Hannah Sargeant

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Roll Up, Roll Up!

Ultimately Hedi Slimane’s SS16 collection for Saint Laurent will sell. Under his leadership, the iconic label has become the beacon for everything Rocky and Rolly – and the house looks set to stay on this course. From studded or floral black wellies, filled with stick thin legs, to metallic slips and camo jackets – next year’s festival goer has a wardrobe well planned. And still, seasons on, it’s not really about the clothes. For the SL girl can pull off anything (provided a nipple is set to slip at any time, and she hasn’t slept for a week) – she wears a ball gown like it’s a jean short – one that she probably stole. The genius is not the clothes at all – they are cool, and badass, but ultimately thrift-able – but it’s Sliamane’s ability to stick those two words on a literal poop and shift it at nifty £800. It is incredibly clever, and deeply fascinating – and indeed fashion forward – but clothes-wise it is absolutely nothing new.

Fuck you Mom

The clothes do, however, wholly embody an attitude. It’s teen angst amplified, and it is really appealing. From huge denim coats, leopard strapless dresses, ultra-oversized evening jackets, and those spaghetti strap kitten sandals (think Vicky Beckham circa solo career) that create the ultimate in cool and unfriendly. Dress straps have fallen down, and tees have been tugged at the neck, while your friend has rolled out of the tent naked and thrown on knickers and a lace dress ready for yet another two day party. Sounds like fun! Liquid silks beneath battered leathers – this is noughties Kate at her best.

Slim Pickings

It is obvious to talk about weight and fashion – and even now, in 2015, there isn’t a single well followed runway show out there is promoting body equality. The extra problematic layer added to the mix with Saint Laurent is that this brand is all about the lifestyle – it’s all about getting into the cool club. But in order to be a card carrying member do you have to be barely there? The models are beautiful of course – and this is not at all about body shaming women who are naturally very thin – but Slimane’s designs offer no other option. Dresses are purposely designed to highlight visible rib-cages and jutting collar bones. The attitude proffered requests lack of sleep and food, and its replacement with cigarettes and cocktails. With such a youthful following it feels as though a more diverse casting (in many senses) would send a way more inclusive (potentially more sellable) message.

Photographer: Thurstan Redding

Words: Tom Rasmussen

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The Plaid and Polo Set

Stella McCartney began this season with polo shirts that were transmuted into long-dresses made of an exaggerated and asymmetrical plaid fabric. In other words, the show started as it meant to carry on; it was sporty, resoundingly unique, and fairly eclectic in its influences – those plaid polo-dresses were riffing on the Brooks Brothers country club set but some pieces were emblazoned with super-abstract designs from a totally different source.

Playing With Convention

The tailoring was a particular highlight as McCartney took classic shapes, like double breasted blazers (perhaps another WASP-y, yacht club reference), and then mutated and adapted them to create something that felt distinctly fresh: long cut jackets were robbed of their sleeves so that they were left looking more like dresses, whilst another was more explicitly like a LBD as it was lapel-less and began at the bust, but retained its sartorial identity through the double row of buttons and flap pockets.

A *Very* Mixed Bag              

Some pieces were a little weirder, with hands-in-pockets accentuating exaggerated hip-shapes (a tricky silhouette that doesn’t exactly scream wearable) and tops and dresses with aggressively asymmetrical hems made out of strangely-hued and pleated fabrics. The abstract art influences found in those patterned pieces also manifested themselves through mesh shapes that curved and snaked through floaty-yet-formal summer dresses. Something for everyone? Perhaps not. But if you like your clothes just a little off-kilter, you might just love it.

Words: Benji Walters

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A universal wardrobe

Sandy floored, Céline SS16 glides down the runway built within a tentscape setting to the co-designed soundtrack by artist, FOS. Backstage Philo was heard saying, “I want to put her feet back in the sand”, on the topic of this season’s Céline woman. “I wanted to put her in different environments. To take her out of the urban setting, and to find clothes that worked in different places.” Back to the collection itself, Philo’s intended versatility really could fit into any environment. We’re not looking at your conventional travel collection that is typically built on comfy basics. It aims and succeeds in meeting the needs of any well-travelled woman of the modern day who is conscious not to sacrifice an inch of style in her wardrobe. Rather than create a distinctive jaw-dropping collection like she has done in the past, this season Philo seems clear on her goal of constantly ask the question: what would I want to put on my body? As a result, Philo’s stylish reaction is a collection that “is a bit like a tent, which can be folded and packed up.”

“Many, many materials”

Fabrics are the heart and soul of Céline – the house is known for tirelessly researching new materials and how they can be put together. This season, Philo’s use of a myriad of materials is where much of the detail lies. Where one material meets another, there is an opposition that ironically brings the two together. A perfect balance between skimpy laced lingerie dresses to teddy bear fur outerwear, every piece that lies between makes for the most ideal ready-to-wear wardrobe. Silky frocks in peachy nudes that cling to the wearer’s torso before dropping out to a floating skirt that meets the ankles inject the feminine back into the practical, and satisfy non-floral dress cravings without compromising on an inch of elegance.

Shoes are everything

Whether you’re a shoe person or not – shoes really are everything in a collection. It’s been known that the shoe is the selling point of most collections, and sell like hot cakes in comparison to the clothes. Often the shoe is the designer’s final full stop on what they want that outfit to be all about: whether it’s a delicate and refined ode to a woman’s femininity or a a bold heavy statement shoe to underline the look. With this thinking in mind, Philo really seems to have considered the mantra of each look when styling with red pointy ballerina shoes to accentuate the delicate lingerie looks or balance out the chunkier, shoulder-heavy jackets. Likewise, the white and black boots complimented and balanced outfits, and we’ve got a feeling they’ll be on Céline’s list of best sellers next year.

Words: Hannah Sargeant

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