Just a reminder that the Alexander McQueen show is being streamed live tonight at 7:30 (UK). I’ve just tried getting online now and the website is ridiculously slow.
Many believe that modern fashion began with the rigorous Spanish couturier Cristóbal Balenciaga, who subsequently passed on his experience to Emanuel Ungaro. So you’ll be forgiven for coming over faint when you hear that Ungaro is now under the creative directorship of one Lindsay Lohan.
Since the retirement of Emanuel Ungaro the label has languished with a revolving door of designers; Peter Dundas is now at Emilio Pucci, while Giambattista Valli designs a successful label under his own name, but none have succeeded in making Ungaro creditable or profitable. The latest designer, Esteban Cortazar, who was appointed in 2007, was fired after his refusal to work with actress Lindsay Lohan.
Lohan was offered the appointment by Ungaro’s president and CEO, Mounir Moufarrige, the same man who slotted a certain pop star’s daughter into the top job at Chloé a decade ago, replacing Karl Lagerfeld. Subsequently, Lohan was appointed Artistic Director, working with new head designer Estrella Archs, a veteran of the Prada, Hussein Chalayan and Nina Ricci design studios, who was hired hastily to replace Cortazar.
As a show it was underwhelming and, even though they had only three weeks to put it together, I think perhaps they should have waited until next season. Visitors to the Emanuel Ungaro studio during the hectic last days of preparations for this collection noticed that while Archs put the finishing touches to the clothes, Lohan was nowhere to be seen. Not that Lohan was neglecting her duties: she was to be found on Twitter, fulfilling her role by inviting celebrity friends such as Lily Allen to the show.
Well, how to make an impression the first time you are let loose on a Parisian catwalk? Sequinned nipple stickers should do it.
Swathed in shocking pink, the room in the Carousel du Louvre bore little, if any, resemblance to the shows Emanuel Ungaro himself used to put on.
Of course it was a label famed for its colour and there was plenty of that: a pink strapless mini dress wrapped in fuchsia chiffon for a start, but the initial hope was very quickly dashed by ruched chiffon trousers in bright blue or orange worn with silk collarless matching blouses and billowing pink genie pants with wide, gathered waistbands below scarlet bra tops.
It was fun, maybe, for LA girls wanting plenty of ideas in their wardrobe to cover several parties a night, every night: one-shouldered white ones, sparkly, tight striped ones, flowing peach chiffon ones – but it didn’t go much beyond that.
Leather jackets with swatches cut out to show a sparkly inner layer gave a bit of bling, while black tuxedo jackets whose lapels were two halves of a red sequined heart injected some humour to the collection and bulging fur stoles thrown over one shoulder signaled that if not exactly chic, these girls were certainly rich.
Ungaro is a house deserving of the respect it once held and Spanish designer Estrella Archs, brought in just weeks ago to replace her successor, would do well to dress more than just Lohan-a-likes. My absolute detest of “celebrities” entering the fashion industry doesn’t blind me to the fact that this was probably a shrewd business move. Obviously, for the first time in several years, Ungaro will get written up everywhere. Is this enough to sustain a venerable French house? Of course not.
The Italian catwalks are never short of glitz and glamour, why use one sequin when a thousand is better? But even by his nation’s standards, Giorgio Armani pulled out all the stops yesterday.
It was as if the recession had never happened. Armani’s press release suggested this was a collection inspired by body art, “exuberant, head-turning [and] sumptuous”. His girls looked ready to party in their flirtatiously short dresses, gone were the designer’s signature long, elegant evening gowns, replaced with bum-skimming hot pink taffeta, one-shouldered puffballs or wraparound skirts that exposed sequin microshorts underneath. These were dresses to be partied in.
Everything was teamed with flat shoes, from gladiator sandals to patent ballerina pumps, giving the collection a youthful, more playful edge than perhaps it has had before. The collection, in a series of jewelled colours, featured two emerging trends; checks and crystals, showing that Mr Armani has lost none of his design edge following his recent illness and, in my opinion, it’s one of the brands best collections in years.
Over at Moschino Cheap & Chic, the audience were presented with humorous prints as always; Minnie Mouse polka dot, oversized monochrome flowers and – again – checks, making numerous appearances. Colours, shapes and styling had a retro feel – and pink, red, orange and monochrome babydoll dresses, jumpsuits and maxis were styled with flower-shaped sunglasses. Despite the tongue-in-cheek attitude of this collection, I do really like it and most of it I would wear myself…ok, maybe not the dress inspired by Bjork’s Oscar choice from 2001 (the dead swan for those who have forgotten).
Just Cavalli blasted Smells Like Teen Spirit out of the speakers as his artfully dishevelled models – smudged eyeliner and rock chick attitude – took to the runway. The first girl appeared in a long pink chiffon tiered dress that was falling off her to reveal sheer, deliberately ill fitting jersey underclothes. She had “I’ve just been touched by Cavalli” scrawled across her front and “heal the world, make it a Cavalli place” on her back. Cavalli’s known for his humour but the theme of the show combined with the implications of the slogan were pretty dark. Chiffon dresses of green and sunbleached pink-bleeding-into-black, swung airily around the girls over mis-matching T-shirts with rolled up sleeves or sequinned under layers for added grunge glamour.
Shredded denim and snakeskin jeans were teamed with pointed satin bras that came either under or over matching chiffon vests, while the free-for-all silhouette was drawn tightly in for bodycon mini dresses with studded seams. Later on, dresses of lace panels featured long fringing and hung open over sexy fitted underwear, as if the young ravers had come into money but couldn’t bring themselves to give up the grunge entirely – and for the morning after there were moth-eaten black knits over tight leather trousers.
D&G sexed up its collection with stonewashed denim and laser cut corsets, showcasing a rodeo girl procession of tiered denim dresses alongside distressed and destroyed playsuits, and enough chambray shirts to suggest a wardrobe essential come next February. The corsetry theme which underpinned the more subtle structures of next season was woven into laser cut dresses, with boning running along the sides and front adding shape and sexiness. Studded leather skirts, leather panels and cowboy boots brought home the country and western theme.
Another week means another city; as the world’s glitterati and fashionista’s descend upon the glamour and hedonism of Milan. It’s a week that’s sure to be significantly different from the conservative – although rather well received – London Fashion Week.
One designer who’s already received critical appraisal is, one of my favourites, Muiccia Prada. Prada threw aside last season’s wholesome, 1940s wartime “make do and mend” girl and replaced her with a more frivolous attitude.
Gone are the boiled wool suits and leather waders, replaced by a light-hearted aesthetic of crystal chandelier dresses, tropical prints, bordelloesque perspex shoes and transparent bags.
The set design was that of shifting hotel corridors and seedy nightclub entrances with conspicuous red lights.
Speaking after her show last night, Miuccia Prada explained she was influenced by “the imagination of corridors. The corridors of hotels are mysterious, there is both high and low life.” She also cited the distraction of modern life as another inspiration, mixing the city and the beach in the collection.
Her designs featured matching jackets and shorts, stiff tops that resembled capes, embellished blouses and dresses made to look like chandeliers.
“The transparency was the idea of light and of this sexy woman walking the corridors,” she said.
Prada was not playing peekaboo only with the overtly sexy crystal dresses, there were glimpses of white cotton briefs and shirt-tails revealed under loose fitting running shorts.
“I have a passion for knickers,” she joked. She also worked with revealing sheer fabrics and cut-outs.
Other stand-out pieces from her collection included the unfinished narrow knee-length shorts that looked as though someone had just lopped them off with a pair of scissors.
Prada explained she had worked for months on the prints of beaches and palm trees in yellows and sages. It’s this mix of “contemporary reality” and nostalgia that Prada believes will make it sellable. And a hint of what’s to come? “Platforms are dead,” she said. “Well maybe until the next show.”
London Fashion Week stamped its mark on the international buying calendar this week, impressing buyers with some of the most commercial collections seen in years.
The designers returning to London Fashion Week were the stars of the schedule. Burberry Prorsum lived up to the hype surrounding the label with a collection that plugged into the trend for commercial yet feminine and playful product. It used sugary tones of mint and baby-pink chiffon, injecting fresh takes on its signature trench coats and girly dresses.
Matthew Williamson firmly shook off his boho mantle to team ethnic undertones with futuristic shiny fabrics and metallic detailing.
The best of the rest went to Christopher Kane, whose signature style of sinister yet innocent, came through with checked prairie dresses and sherbet silks with cutaway panels.
With big British names such as Burberry Prorsum and Pringle returning to London from rival international catwalks, the pressure was on the organiser, British Fashion Council (BFC), to live up to its promise that its 25th anniversary event would restore the buzz the capital had lacked since the late 1990s.
Early reports suggested the BFC largely succeeded, with a 15% rise on last season’s visitor figures and a host of international buyers and press.
BFC chairman Harold Tillman said: “We had great feedback from international and UK attendees. There are always things we can improve and work on but that is what drives us forward.”
Buyers were impressed by new talent as well as the much-hyped big-name returns.
Liberty buying director Ed Burstell said: “London Fashion Week certainly lived up to the hype with the return of Burberry and Matthew Williamson. Both put on outstanding shows. Other favourites were Luella, for her flirty and very saleable dresses, and Mark Fast and Mary Katrantzou as new talent to watch.”
He added that the relocation of the event to Somerset House had been long overdue. That sentiment was echoed by Harvey Nichols’ fashion buying director Averyl Oates, who said Somerset House and 180 The Strand “proved that in London we don’t always need a faceless warehouse space for ambience”.
However, other buyers found the venue confusing. Pamela Shiffer, owner of the eponymous two-store London indie, said: “It was hard to get an overview with all the different rooms in Somerset House.”
Some exhibitors said the new exhibition space at 180 The Strand was quiet, but Tillman argued that brands that marketed themselves well made good sales. He said: “The exhibitors that made appointments and created a focus on their area wrote business.”
Visitors were confident that LFW would now become an essential fixture on the buying calendar. Selfridges’ director of womenswear Anita Barr said: “If the BFC can persuade labels such as Burberry to show here again it will cement London’s importance.”
Tillman added: “We know we have our work cut out but we are confident that we can continue to raise the bar.”
Burberry’s shares were up 5.5% to 502.5p yesterday, following a much acclaimed catwalk show, which closed London Fashion Week on Tuesday.
Confidence in the luxury fashion label has grown following comments from chief executive Angela Ahrendts, who reportedly said that, “the UK business has been on fire for quite a while now”.
More than 1,500 guests, including US Vogue editor Anna Wintour, Arcadia owner Sir Philip Green, M&S chief executive Sir Stuart Rose and Sainsbury chairman David Tyler, turned out to see Burberry’s return to the London catwalk. The British fashion house usually shows at Milan Fashion Week but changed location to celebrate LFW’s 25th anniversary.
Taken from Drapers:
Christopher Bailey’s exquisite Burberry Prorsum collection was a fitting end to London Fashion Week’s 25th year.
Victoria Beckham, Anna Wintour, Claudia Schiffer and brand ambassador Emma Watson were all on hand to watch Bailey’s return to London with baited breath, and were not disappointed.
Following on from the ultra-feminine feel seen leading the charge through the London collections this week, Bailey also plumped for sugary tones, twisting, knotting and wrapping shades of mint, baby pink and duck egg blue chiffon into gently swathed takes on his signature trench and girlish dresses.
Pleating on shoulders added subtle volume to the upper half of the body, which draped down from the waist and out from the hips. Ruching offered the most surface texture options – other than a silver encrusted coat and jacket at the end of the show – and was deployed on trenchcoat sleeves, all the way down skinny trousers and used to add impact to nude slip dresses.
Chiffons were interspersed with stiffer satin fabrics which were bunched and tied into voluptuous peaks along the bottom of double-breasted shirt dresses and cap-sleeved minis.
Watch the runway video on the Vogue website.
The final day at LFW is traditionally not quite as exciting as the penultimate one, but this season London saved the best until last, and alongside Burberry, the day’s guests were also treated to in-your-face colour pop prom dresses from Nathan Jenden, a clean and Nineties-inspired sugary-hued collection from Jonathan Saunders and some ultra-pretty floral print gowns at Erdem.
Fashion Week is back in London for its 25th anniversary, but aside from the glamour, the hedonistic designs, the glitterati and the parties; this season also receives hundreds of column inches on sizing used on the runway.
This time the issue has been raised because of the use of plus size models. According to reports (read The Guardian article here) a back-stage row erupted at London Fashion Week after knitwear designer, Mark Fast) chose to use ‘normal-sized’ models in his show.
Fast, who is known for his sculpted ‘bodycon’ dresses, used three models who were sizes 12-14 to showcase his designs – which prompted his stylist to resign.
The news emerged after a journalist from the fashion magazine Elle posted a message on Twitter within an hour of the show. Fast’s managing director, Amanda May, said she was ‘so happy we stuck to our guns over the casting’ adding that she was ‘really grateful’ to another stylist, Daniella Agnelli, who had stepped in at the last minute.
Fast used size 12 model Hayley Morley in his catwalk show after working with her for the London Fashion Week photography exhibition, All Walks Beyond the Catwalk.
It launched on Friday at London’s Somerset House with a party attended by prime minister’s wife Sarah Brown (who admitted she had “sneaked out” of a number 10 reception for British designers she was hosting) and Alexandra Shulman, editor of British Vogue, who wrote to leading designers asking for larger-sized clothes for the magazine’s photo shoots. She said: “We have now reached the point where many of the sample sizes don’t comfortably fit even the established star models”.
The exhibition features models aged 18 to 65, in sizes 8 to 16, wearing outfits created by young London designers. It aims to change the narrow vision of beauty offered by the fashion world. The size issue is always a sore point within the industry. The 2007 Model Health Inquiry was launched by the British Fashion Council in response to the death from starvation of several models who had been slaves to the size-zero trend. It failed to set out any firm industry guidelines but the debate has gained momentum; this month, plus-size model Crystal Renn launched her autobiography at a glittering Manhattan party and talked of a new vogue for women “lush and sparkly without a jutting collarbone in sight”.
All Walks Beyond the Catwalk aims to change the perception of young designers towards age and weight. Exhibition curator and fashion TV presenter Caryn Franklin said: “Working with designers early in their career to introduce this shift is crucial.” In Fast, she may have found her first true convert.
Reading the reviews from this years’ New York Fashion Week (unfortunately students can’t afford the jet-setting lifestyle) there doesn’t seem to be much in terms of inspiration or excitement. I’m not that surprised, honestly there is not a single American designer who wows me. With only two more days of New York Fashion Week left, yesterday it was Michael Kors, Oscar de la Renta, Marchesa, Anna Sui, Proenza Schouler, Peter Som and 3.1 Phillip Lim who were showing.
Oscar De La Renta might not be one of the most inspiring designers, never straying far from his luxury cocoon, but despite recessional headaches he remains true to form for spring 2010. In general, De la Renta seems to have received positive reviews by “embracing fresh and contrasting colour combinations with blue and orange, the aforementioned on elegant dresses cinched by scarlet belts, and recalled the Twenties with cloche hats completing the look,” according to Vogue.
Safari suits in teal satin, embroidered three-quarter length jackets teeming with sequins, and brightly coloured cardigans edged in golden beads all spoke a luxe language and younger customers will enjoy the spotty tutu skirts, cropped chambray jackets, doily effect playsuits and brocade purple houndstooth dresses with puffed sleeves, as well as the frothy tulle ruffles on the finishing evening gowns. According to Vogue, The Oscar de la Renta woman this season mixes her textures with crochet and tweed combined. In general, I do like this collection, I think it’s one of the better ones from this week (this may be because it reminds me of Luella’s spring 2009 collection though).
However, it’s Prosenza Schouler who Drapers appear to be supporting. Sportier aesthetics took to the catwalk at Proenza Schouler, where skirts were seemingly constructed from a shirt or jumper tied around the waist, and where little dresses came in shiny shocking shades. Drapers wrote : “After a number of New York designers failed to ignite imaginations over the pond this week, the cool which oozed from Proenza Schouler’s spring offering made up for some lost ground in the innovation stakes. Designed – it appeared – purely with the rock chick in mind, the duo opted for less ladylike refinery than in previous seasons. A young take on the wraparound shape saw deconstructed tie-dyed shirt dresses cris-cross along the front, and wet look fabrics fold and fall around the hips.
Rounding off the first week of four in a month of collections is Ralph Lauren, Tommy Hilfiger, Threeasfour and Isaac Mizrahi tomorrow.
It was always going to be hard to know what to expect from Gareth Pugh’s second film, directed by Ruth Hogben, which was presented last night at New York’s Milk Studios as part of M.A.C. and Milk’s collaboration this season. It could not possibly have been a fashion film given that his show in Paris was going to be taking place in a few weeks time. Instead, in the loading bay, on a giant suspended cube, four extracted ideas of the collection were presented on the four facets, representing elements of fire, wind, earth and water. As new-age as that sounds, it needs to be seen to be fully understood (film now live on SHOWstudio) as even Pugh admitted it was a hard piece to describe in words. For those familiar with Pugh’s work, it is an enticing ensemble piece that does exactly what it set out to do; prequel the show. For those not so familiar, they might have taken away an essence or a mood of what Pugh’s aesthetic is all about.
Dazed and Confused spoke to Pugh and Hogben about their second collaboration.