WOMEN COLLECTIONS – AUTUMN/WINTER 2019.20
Paris and London women collections details in the biggest existing size
The bourgeoisie, the class that has always been synonymous with social conventions and traditions, stamped its authority on the Paris runways, somewhat unsurprisingly. The explanation for this desire for normality and security could lie in the current atmosphere in France, which has seen riots on the streets of the capital similar to the days of ’68, with the not very idealistic but very pragmatic gilets jaunes demanding more social justice. A reaction to the chaos, a sort of restoration of that minimal, no frills fashion, an expression of cleanness, rigour, seriousness, juxtaposed against all the streetwear and sportswear on show. And yet, even the most tranquil bourgeois home conceals the seeds of rebellion. Indeed, the very existence of certain rules and standards is perhaps made to be broken, especially by those well-to-do young ladies who have it all and want exactly the opposite. Like Betty Catroux, Yves Saint Laurent’s muse and close friend who inspired Giambattista Valli’s latest collection, who opposed her bourgeois background with her free spirit, love of idleness and unbridled hedonism. What was on show ici à Paris was precisely this kind of girl, perhaps not excessively rebellious but still a symbol of a New Bourgeoisie. A world made up of free girls who are well dressed and charming but also fans of short hemlines and frivolous details. It’s a style in which the masculine element plays into a desire to liberate peerless femininity and sensuality. Multi-Tailoring is gaining more and more space in the female wardrobe, taking on multifaceted forms of expressions – more romantic when paired with floral motifs and veiling, more strong-willed when boosted by voluminous shoulders and plunging necklines, with a general propensity for oversize. Finally, the Layers trend is another expression of practicality but also an affirmation of a personal touch with mix & match and a varied colour palette dominated by patchwork, asymmetry and contrasts. And a certain exotic touch.
Garments: masculine suits, blazers, long coats, down jackets, biker jackets, bombers, shearling, cloaks, masculine shirts, high-necked blouses, turtlenecks, knitwear, high-waist trousers, knickerbockers, midi length skirts, jumpsuits, long dresses (also worn over trousers), total looks in leather, high-heel boots, pirate boots, belted waist, big headpieces, fisherman’s hats, big earrings, chains, handbags, mini-bags, graphic make-up.
Materials: velvet, tweed, menswear fabrics, leather, denim, faux fur, PVC.
Details: ‘70s and ‘80s influences, menswear, oversize, overlapping, layering, mix & match, statement shoulders, rounded shoulders, high waist, extra-long sleeves, gathered collars, pockets, plunging necklines, splits, asymmetry, transparencies, veiling, visible underwear, trains, fitted, draping, plissé, pleats, knots, bows, feathers, ruches, fringes, buckles, studs, insets, embroidery, patchwork, tartan, pinstripe, checks, floral prints, ethnic motifs, animal print, satin finishes, metallic sheen, iridescence.
Colours: black, white, grey, beige, purple, pink, red, blue, various shades of green, silver.
London is elevation. Lifting. Ascending. It launches itself in a spiritual, ethical journey upwards. Skyward. Towards the future. It is vertical. It seeks out experimentation and innovation. It shuns the codes of previous seasons and strips them of all frills. It abandons the superfluous. It goes understated. The dress is the protagonist of the winter. It is the means of elevating materials to pure heights. It is plain, devoid of embellishments and far from any excess. It is ascetic, monastic, minimalist and monochrome. It teams silence and meditation. It encourages a contemplative attitude. The dress is the cathedral of colour for Jasper Conran, who composed a collection entitled ‘The dress’. The runway became the consecrated place for bringing the dress to life: chaste, with demure necklines or a turtleneck, linear, geometric. Filled with grace and measure. Fashion is a prodigy of cashmere for Pringle of Scotland. A love of the raw material, wool and yarn is woven into soft surfaces in milky white tones. Purity takes shape in enveloping, comfortable clothes with a genuine consistency. Chalayan’s winter is Pythagorean, asymmetric. In black and white with immaculate shirts and coats with thin lapels. Roland Mouret shaped familiar, soft tunics that have no given gender or size. Victoria Beckham offered tapered knits with Argyle motifs in the grey shades of British skies. Fashion on the London runways rises to celestial, platonic and dreamy heights. It vibrates. Waves. Evaporates. Mary Katrantzou dressed girls in organza. These were volatile, impalpable girls of the air. They wore the colours of the ether, shades of the sky. JW Anderson’s girls walked amongst the clouds illuminated by a benevolent light. They wore pumped-up, ethereal, airy dresses. Light whorls of fabric ruffled around the shoulders and wrists. These were timeless women and girls suspended between the land and sky. Roksanda’s celestial apparitions wore fine organza in sweet, pale shades of vanilla, milk and honey, and amber. Angelic visions, weightless, inconsistent and light. Their clothes fluttered as they walked. They were evanescent and ethereal. The dress became a mirage. An oasis in which to take refuge. Bodies were covered up and protected from the wind. Outerwear was romantic. Simone Rocha forged coats with twisted, virtuous lines, floral prints, ribbons, bows, flounces, ruches, puff sleeves and big rounded collars. The London runways then turned conceptual, leaving room for ideas. Vivienne Westwood used it to make her appeal, to prick the conscience about climate change. Fabrics bore phrases like “More democracy”, “We sold our soul for consumption”, “Evolution?”. The show as a crossroads of reflections. House of Holland mixed Oriental influences with Western ideas, unleashing the conviction that one cannot build walls around ideas. Christopher Kane’s show tackled every taboo. It lit up with swarovski, rhinestones and crystals. It focused on rubber as a seasonal trend, raising it up to noble status.
Garments: cloaks, raincoats, coats, trenches, parkas, cardigans, blazers, outfits, suits, skinny pants, pencil skirts, midi length skirts, mid-calf length, kilts, blouses, slip dresses, peplums, tunics, long dresses, bustier dresses, corsets, bodysuits, bras.
Materials: tweed, velvet, shearling, faux fur, fur, leather, cashmere, chiffon, satin, organza, denim, lurex, jersey, technical fabrics.
Details: asymmetry, destructured, overlapping, swags, draping, gathers, plissé, patchwork, oversize volumes, XXL collars, puff sleeves, bubble sleeves, splits, bare shoulders, V necklines, teardrop necklines, thin lapels, fringes, feathers, ruches, ribbons, bows, embroidery, crystals, paisley prints, checks, tartan, Glen plaid, houndstooth, Argyle, marble effects, tie-dye, scribbles, graffiti, playing cards, roulette, ‘Vogueing’ faces, balloons, plastic gloves, fantasy and psychedelic images.
Colours: pastel, vanilla, milk and honey, raspberry, amber, custard, champagne, pistachio, olive, pearl grey, parchment, magenta, violet, orange, vermilion, sky blue, fuchsia, electric blue.