Ensuring that the merry-go round of Autumn/Winter fashion weeks went out with a bang rather than a fizzle, Louis Vuitton sent out leather glad models in dominatrix style get ups that included knickers and stocking flashing sheer skirts. Accessorised with monogramed, peak caps these had a distinct military flavour that was only enhanced by the choice of black, white, navy and red. This influence also crept into coats with brass buttons and razor sharp tailoring.
Tweeds were another common thread coming in violent violet on dress coats with Peter Pan collars and twin sets with a twist. As the show progressed daintier looks appeared like a gorgeous crimson, printed tea dress , but were always interspersed with Gaga-esque knicker flashing and acres of legs.
For a refreshing change Miu Miu transported us not back to the 70s, but the rather more refined glamour of the 40s. Models sported muted victory rolls and red lipstick as they stepped out in elegant, feminine numbers with stunning accessories like oversized clutch bags and bejewelled pumps. Simple dresses were given character with darts at the shoulders and scrunchy, bow belts and intricate floral and bird prints. Knits, blazers and coats added interest with contrasting colour collars, including a standout mustard coat with white shirt collar.
Louis Vuitton images from style.com
Miu Miu images courtesy of Miu Miu
Edited by Mini Bear - 11 Mar 2011 at 2:37pm
post a commentFrom panthers at Givenchy we now come to slippery serpents at Chloe, with snakeskin coming out in force. The python's pretty skin made it onto cocoon shape coats, flesh skimming polo necks, printed on to floaty, sheer dresses and on emerald green, structured skirts. It wasn't the only story though, as canary yellow paisley made an appearance along with seventies style patch work denim and billowing white dresses topped with flowing bow-tied capes.
Clearly taking inspiration from 90s minimalism the show started off with lashing of monochrome, clean lines and simple, sheath dresses. Hem-lines were high across the board and stayed that way as lines of colour were drip fed in. Once the bright sunshine yellow had made an appearance, more daring, oversized floral prints were introduced as were textures like velvet and fur, before the show closed on a ruby-red show-stopper of a dress.
Demure and dainty was the lady like look that the label first sent down the catwalk. With neat tailoring, tweed, simple white blouses and neat, black gloves. The look was slowly deconstructed as flowing silk blouses and suits without shirts added some va va voom to proceedings. Perhaps inspired by a certain couple's forth coming nuptials, the first injection of colour came in a regal purple before the reign of monochrome seized back control. Cobalt also made a cameo in a structured dress before a white wash of goddess gowns ended the show.
Arced, structured, ballooning sleeves made a statement at the start of the show, adding interest to even relatively plain LBDs, and giving the models a slightly alien, other worldly look. Pared back looks with in either black or white came next, with the statement sleeves making the odd reappearance, before quilted coats in gold lame and an invasion of spots stormed the catwalk.
All images from style.com
Edited by Sophie Colgate - 08 Mar 2011 at 9:40pm
Seventies through and through this kicked off with a wave of brown before moving into bright mustard and neutrals. Suedes were mixed in with silks, fur trims and leathers and prints included dramatic city sky scrapes splashed across the simplest of dresses and close ups of autumnal barren trees.
Beginning with a white out worthy of Wimbledon, Hermes sent forth snow queens in different guises. First was the ethereal being decked out in religious looking robes, next there was the 30s glamour girl, her peaked hat at a jaunty angle and coat swishing about the shin and then there was the shy girl, face obscured by hat and heavy duty scarf with just a pair of ruby red lips on show. Colour arrived in the form of chestnut, which was seen on riding boots, hats, trim and leather trousers before more muted tones started to arrive. More modern numbers included brightly coloured layered hoods accessorised with bowling bags, geometric print, quilted coats and aqua harem pant jump suits.
A dark, floral print in earthy tones was splashed across the start of the collection on dresses, shirts and full length skirts. 90s grunge was hinted at with army green knit dresses layered over flowing skirts. Slowly the print was diluted, scaled down and turned lime green before brocade broke out on suits and liberty print made an appearance on sheer dresses.
Prowling first down the catwalk came a model in a matching blouse and slim-skirt combo that boasted a black panther print. The feline first look was followed up with the skirt alone accompanied by a boxy, boyfriend blazer and a sheer version of the shirt. The 70s, rock band style print was also found lurking on the sheer trim of black and gold knit dresses, pencil skirts, suit jackets and sweaters that added a floral element. Once the feline fetish had run it's course pin up girls were emblazoned across tops and leather and sheer black skirts were mixed up in layers.
All images from style.com
Edited by Sophie Colgate - 07 Mar 2011 at 9:21pm
Free of thrills and frippery, Martin Grant's latest collection was elegantly understated and full of chic, simple pieces that made a statement without any fuss. Colours came in blocks and matchy ensembles like the tangerine coat with suede pumps. Chocolate and charcoal were often mixed in simple skirt and knit sets or dresses with oversized zig zags. Lines were clean and sharp, without being too structured or stuffy, and the omnipresent seventies influence had certainly carried over from Spring/ Summer. Dresses made an impact in burnt caramel silks with plunging neck lines, leather, body-con two tone numbers and monochrome pleated floor trailers.
As the models sporting grey-haired beehives took to the catwalk each revealed a lady-like get up. Parading down came full on pin stripped power suits, suits with seventies look paisley shirts, fur trimmed coats and vivid yellow jumpsuits topped with leather waistcoats. In short, it was a collection that could have been made up of eclectic items uncovered from a treasure trove chest in granny's attic. One outfit even came complete with a pull along fur trolley to emphasis the grandma chic.
And so from the seventies we were thrown even further back in time to the age of the knight and the damsel in distress. The theatrical creations in this collection were modelled by devil-red faced girls and inspired by the idea of medieval armour. Collars fanned out with razor-sharp edges and noir, white and crimson were the colour of choice. Coats came with structured, stand out pleating that fanned all the way along arms and the chest with knee high studded boots just peaking out below. Slightly easier to wear pieces included a military coat with puffed out sleeves and bondage style belts, a quilted coat in wet look PVC, a virginal white dress fit for a maiden and a pleated, polo neck monochrome dress with a blood red rose blooming over the chest. Towards the end some sliver did creep in, alluding to the armour even more clearly.
All images from style.com
Edited by Sophie Colgate - 06 Mar 2011 at 11:30am
A mixed bag, this eclectic collection began with white, floral print skirts matched with heavy monochrome jackets. Next came a darker, full on monochrome ensemble with a wet look leather jacket and school teacher length skirt. This skirt was literally given an edge with leather trim and paraded down the catwalk in several variations. Breaking up the noir and white party was a neon pink number complete with chunky black net layered over a smart pair of office grey trousers. The show was rounded up with sixties style tunics over scarlet, cobalt and violent violet trousers.
A show of stunning simplicity, begun with Jourdan Dunn stepping out in head to toe funeral black in an incredibly streamlined, skintight silhouette. Next came the perfect, effortlessly elegant LDB with cut out neck detail. Body con crept in, but with added interest like stand up ruffles at the neck. The seventies influence was there in the cut of trousers and flung open fur coats and the pared back look of the nineties also received a nod.
Drama, drama, drama was was what prevailed on this catwalk as Manish worked his magic. Starting with multi-colour, metallic patchwork dresses in peacock blues, golds and burnt bronzes, the tone was set from the start. Slightly seventies starship trooper these managed to be slinky, sexy and undeniably show stopping as well. Next came an emerald, silk blouse with billowing puff sleeves matched with multicolour, glitter leggings that screamed Jane Fonda on acid. The over exaggerated sleeve was a tudor-esque theme that sometimes came in velvet and blindingly bright hues. Prints came, as ever, in a riot of technicolour that set the catwalk ablaze and drew the buyers' order books, while structure came in a buttercup yellow conical dress that looked as though it was made from shapped metal. It was, as usual, a stellar show.
All images from style.com
Edited by Sophie Colgate - 05 Mar 2011 at 8:49am
Gareth Pugh The Gareth Pugh Fall collection was characterised by his trademark avant-garde, dramatic shapes. The collection exuded physicality as models walked down in futuristic leather dresses and knee high boots in jet black with stiking metalic accessories. Males models were also on show in dark hooded ensembles, combining tight leather with flowing drapes of fabric. This was then followed by shocking, cobalt blue and gold panelled dresses which maintained the same distinct shapes which made for an exuberant and playful finale. Dries Van Noten Subtle collages of geometric shapes, zig-zags and floral asymetric prints graced the Dires Van Noten show. This season's collection was comprised of long dresses and skirts with tailored jackets and belted trench coats. It was only when considering the detail that each simple silhouette came alive and the intricate designs and luscious fabrics became apparent. These asymetric Damir Doma The Damir Doma Fall collection presented an array of simple, yet tailored pieces, indicative of the menswear that Doma was originally known for. Fur vests were combined with ponyskin and fitted jackets giving a feminine edge to his traditionally minimal and clean silhouettes. Modest shift skirts were worn over black leggings with flat, unembellished rubber shoes. This combined with the models' pulled back hair and black netted headpieces almost suggested an austere, old fashioned take on minimalism. Yet somehow the collection remained elegant and distinctly wearable. All images from style.com
Hakaan Yildirim
Championed this time last year by Carine
Roitfeld and Kate Moss, Hakaan Yildirim was back again this season for a
daringly dark collection of opulence. Natalia Vodianova made her way down the runway to get the show off to a
shining start, and although the clothes were ‘nice’, there just seemed to be
something missing. Whether it was the fact that the venue had previously been used to show
Gianni Versace’s couture collection in earlier years, or that nothing could
live up to the hype, you got the feeling that the skin-tight leather dresses and
pleated skirts have been around the block more than once. The garments came in a profusion of red, black and white; hinting that
the Turkish designer was going for a more classic appeal that his previous
work. The collection changed from the short-and-tight in the first half to a
menagerie of masculine-meets-feminine in the second; campaigning tailored
trousers and oversized blazers. Again, this is nothing brand new, but Yildirim has still managed to
create an extremely wearable and androgynous collection that has captured the
hearts and minds of his many A-list followers.
From the moment I saw the white chemise-esque blouse
splattered in red blood-like clots, I was hooked. This is the return of
Elizabethan fashion with a modern spin. Like his last collection, the palate is still very dark
and brooding, but this is perhaps one of the best of Taralis’ attributes:
consistency. He knows whom the woman is that he is dressing, and this
is a profound achievement for the designer. Amongst the blood-stained shirts
were cleverly cut black tops, missing fabric just above the breasts to ensure
an element of provocatism into an otherwise high-necked affair. His black studded knee-high boots also featured cut out
details, showing flesh where it was last expected to be seen. The models were kept sleek and minimalist with natural
makeup and swept-back hair; only their raspberry red lips challenging the
glossy demeanour. This complimented the clothes themselves: unfussy, streamline
and desperately classic. My desired look of the collection was a simple, long black
blazer with ultra thin lapels so as to completely curtail the ensemble of a
sheer black shirt, skinny trousers and heavy, macho boots.
Thimister On first inspection I wasn’t sure whether Thimister’s
collection was based upon the Dark Riders from The Lord of the Rings, but then I remembered that this is, indeed,
Thimister, and nothing is ever too wild, banal or eccentric for the man who
desired to make the audience’s ears bleed when designing for Balenciaga. This isn’t a collection made for anybody ‘average’,
Thimister designs for people who love the theatrical aspect of fashion, and he
does not disappoint. Stings of fabric trailed behind the models like chains,
men were bare-chested with thick knitted scarves tied around their throats and
the women’s garments ranged from super-streamlined dresses to oversized
puffer-costs clinched in at the waist with belts. Cape shirts were a staple, and a trend that is sure to
catch on very quickly. Boots came in a variety of lengths from ankle to knee,
but the consistent factor was that they all featured the same long zip running
up the front for both sexes. The truth is that the female models could have shown the
whole collection, or similarly, he could have just used men. Thimister has
blurred the line between where men’s fashion begins and women’s ends, meaning
that this transferable collection is even more multi-usable than usual. All images from style.com
Edited by Sophie Colgate - 03 Mar 2011 at 6:54am
Inspired by the heroine's vivid getup and undoubtedly those red boots, the collection comes in unashamedly bright packaging with the yellow Wonder Woman motif splayed across it. Across the range you'll find everything an aspiring legend could desire from eye shadow quads to lipsticks in Heroine (a divine bronzey-brown) and dazzling nail lacquers. All perfect for transforming yourself in a flash. If MAC were looking to add another cult collection to their impressively long list, we've got a feeling it's mission accomplished.
The collection will be available at all MAC counters and online at www.maccosmetics.co.uk from 3rd March.
Image courtesy of MAC
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