Céline Spring/Summer 2014

Season after season Pheobe Philo has presented boxy-shapes, structured garments with fittingly appropriate palettes. During her time at Céline she has heavily re-invigorated the brand, taking it from a not-so-exciting monogrammed french luxury house, to being one of most coveted brands worldwide with a strong focus on both accessories and apparel. This season, Philo presented a collection which truly once again changed the way people think about Céline.

In this collection, there is still very much the essence of the Céline woman from seasons past, however, this season she was much bolder and daring than ever before. The collection was more lighthearted and the garments carried much more fluidity rather than the stiff-structured garments of seasons past. Yet structural silhouettes still very much appeared in this collection, however they were juxtaposed by a carefully selected print on a garment, which made the fabric carry a more fluent presence and personality. It was a tale of the old and the new. Often looks from the show would have a stiffened top half through the use of a t-shirt or coat, which would then be juxtaposed with the eloquence of a chiffon insert or skirt. This not only allows for movement to be carried throughout the whole look, from head to toe, but also is true of the chameleonic nature of the collection.

The latest offering by Phoebe Philo in Céline's Spring 2014 collection, described a tale of morality. Taking lessons from the past and applying them to the future.

Images from style.com. View the full collection here.

Chanel Spring/Summer 2014

Fashion and art was the focus of the the latest collection by Karl Lagerfeld at Chanel. There's always been a debate over whether fashion is art, personally, I believe that while fashion maintains some of the characteristics of art, I don't believe that fashion is entirely true when given the label of art. Lagerfeld very much played on this debate through this latest collection, as guests sat in the Grand Palais, they very much had to examine the difference between the faux art gallery and the garments presented. It challenged the viewers to not only form an opinion on this debate as they sat they were confronted by Lagerfeld visually. Ironically all of the artworks in the gallery were of course fake and created to be used in conjunction with the show. This choice by Lagerfeld is significant as he could have commissioned artists to capture the essence and heritage of the brand of Chanel through it's iconic No. 5 perfume, logo and Camellia flower among others. However, he chose not to. This decision insinuated his stance on the debate, perhaps fashion is the ironic or imitative sister of art.

The collection - as with all Chanel collections by Lagerfeld - centred around the heritage and history of the brand. Chanel, after all, is a house which praises and values it's heritage. Every collection seems to be a re-collection of the nostalgic years of Coco Chanel and of her achievements rather than focusing on the future of Chanel's role as a brand in the luxury retail industry. Depending on how Lagerfeld executes a show and collection, this usually falls into two categories, tiresome or invigorated. While it is of course respectful and desirable to acknowledge the origins of a brand, does Lagerfeld really need to do this with every single collection?

Dispensability really should be the focus of Lagerfeld's collections. Look at the collection in look-by-look and you'll notice that Lagerfeld has a habit of presenting 3 or 4 looks which feature the same materials, prints, colours or design. While some were scattered throughout the show, the pattern becomes increasingly apparent if you view the collection on a look-by-look basis and not in it's respective order. The collection totalled a number of 89 looks - unnecessary.

From tweed, to jersey, to lace and chiffon, Lagerfeld included them all in Chanel's Spring collection. The use of this huge variety of textiles whilst does show Lagerfeld's capacity to design with different textiles, seemed boisterous and unruly. While the colours used in this collection sprawled over continents, I'm not sure if Lagerfeld's goal is to design an entire wardrobe for a woman or just play with different textures and colours.

I've read everywhere that this collection focused on the 'modern' and 'contemporary', but with an unlikely assortment of colours, textiles and a total of 89 looks, Chanel's Spring 2014 collection proved to be once again a regression into Lagerfeld's fear of digressing from the heritage and authority of Chanel.

Images from style.com. View the full collection here.

Comme des Garçons Spring/Summer 2014

When reviewing any fashion show or simply viewing it, the audience must take a number of factors into consideration, knowledge in this instance holds power of critique. Firstly, the audience must have knowledge of the creative director's past work and their vision for the brand. Secondly, to familiarise themselves with the brand itself. Anyone who knows of the Comme des Garçons label is aware of the brand's aesthetics - that it is a brand which deals with the unconventional and avant-garde aesthetics within fashion. And so, for anyone who has not come across the work of Rei Kawakubo, it may be a shock to learn that Comme des Garçons has developed a cult following over the years simply because of it's rejection of the aesthetics of mainstream fashion.

The way in which Comme des Garçons manifests itself each season is something truly exceptional. It is always unexpected and distinctly different from the hundreds of collections presented every year. The mood at the latest collection was extremely dark for the most part. Even the pink and white garments still did not promote any light or brightness, it was still very much dismal. In the last few seasons for Comme des Garçons the garments have felt extremely conservative in the way that the garments have created a trapping around the model. These garments impose themselves onto the audience, they scream and demand that the audience's concentration of attention on them and them only. This collection was strict and disciplined in the sense of it's aesthetics and it's interpretation.

Yet Kawakubo's offering this season felt like a re-interpretation of seasons past. Instead of creating something entirely new, it felt as though it was an adaptation of the Comme des Garçons past collections and a re-issuing of their collections in a way which would conform to our social system nowadays. Although this collection did feel much more cleaner and pragmatic than past collections. It is also interesting to note that Kawakubo's offerings never feel wrong or awkward to a fashion audience. It's simply accepted and taken as another initiative as challenging the limitations of fashion and it's relationship with art. It all but seem's as if Rei Kawakubo in this world, can do no wrong. Perhaps it is because of the violent distress that each collection portrays in comparison to the other designers at Paris Fashion Week that Comme des Garçons and it's namesake is so readily praised in it's entirety.

Images from style.com. View the full collection here. 

Christian Dior Spring/Summer 2014

The past few seasons at Dior have proved that Raf Simons is not concentrated on re-creating or re-inventing silhouettes but instead, he has focused his attention the way in which the silhouettes are constructed.

As opposed to his last few collections both at Jil Sander and Christian Dior, this collection was much less refined and bearing the bones of the industry. This was both present in his set, decadent flowers hung from the ceiling and peaking through a builders scaffold, as well as his garments which contained unconventional cutting techniques and embellishments. Through the simple process of cutting in a different manner, Simons' was able to transform a traditional centred keyhole into a much less imposing ornamentation on a dress. It was clear that Simons' drew inspiration from his early 2000 menswear collections under his own brand, paying homage to his obsession with military uniformity. There was a feeling of unity and totality within the collection.

However some of the fabrics used lacked movement and thus, an understanding of the characteristics of the fabric themselves. This was interesting as his last few seasons, particularly the Spring 2013 collection, showcased beautifully draped metallic organza which moved down the runway in a way which broke the structural limits of such a textile. Simons is a designer who understands the importance of textiles - their strengths and limitations and so it was strange that he would make such a rookie mistake which left some of the models awkwardly shuffling down the runway.

The palette of Dior this season was much less ethereal as it was characterised by a much bolder and strengthened assertion on the audience, rather than dissipating into the grand scheme of things. Simons' is finally starting to assert his chosen identity for the brand of Christian Dior, rather than concerning himself with paying an homage to the past. Dior will only continue to progress forward as a more united distinction and assertion.

While the collection was easy on the eye, one thing that has proved to be a rather arduous task during Raf Simons' reign at Christian Dior is the casting of models in the runway shows. Strangely enough Christian Dior was not named and shamed in the letter that the Diversity coalition penned in regards to the Paris womenswear show, however Christian Dior does indeed appear on the Paris list published on the website.

6 models of colour and Asian descent is not deserving of the title of a diverse casting of models. This act by the casting director, creative director and the brand of Christian Dior, no matter what the intention, is racist and more importantly ignorant. There is no diversity that exists within showcasing one model of colour followed by 10 or so Caucasian models and one Asian model followed by another 10 or so Caucasian models and so forth. It is nonsensical to claim this cast as being diverse simply because of the presence of 6 models of Asian descent or models of colour as opposed to having none. It simply showed a lack of awareness and ignorance.

Images from style.com. View the full collection here.

Dries Van Noten Spring/Summer 2014

Amidst all the fuss and rapid rate of fashion week, Dries Van Noten's collections always seem to slow down the atmosphere as it encourages the audience to take time to reflect upon the madness that is fashion week. While there seem to be the two polar opposite aesthetics of excess and extravagance vs minimalism and reductivism, Dries Van Noten's latest collection perfectly contemporised the two.

Van Noten referenced the opulence and wealth of the overabundance atmosphere which the fashion industry portrays and pinned it against the impoverishment of those with less in his collection. Looking through the collection, it told a story which depicted the struggles of socio-economic classes both in the present, past as well as future. With each collection, Van Noten tells a story, it is not always marked by joy or happiness however, it always has a sense of purpose. This also pertains to his collections, they are incessantly commemorated by a sense of purpose, each piece is able to hold it's own against the beauty, styling, background and even the endlessly busy nature of fashion week.

Dries Van Noten re-defines the western doctrine of luxury and opulence, luxury should not be staged or boasted rather it should be understated and intrinsic. The embellishments of the gold pleating and hints of bead work on the tops and skirts, imply and hint at the luxurious nature of the Dries Van Noten woman. The structures of many garments are not tough and fixed, instead gentle and kind to movement, allowing freedom to the wearer as Van Noten wishes not to hold a distinction between the wearer and the garment. Instead granting the wearer and garment to develop a much more organic relationship.


Images from style.com. View the full collection here.

Prada Spring/Summer 2014

Miuccia Prada has always been a woman in fashion with distinctly directional aesthetics for her two brands, Prada and Miu Miu. This season for Prada proved to be no different, as Miuccia Prada's ability to express her words and opinions of social contexts through fashion design is unparalleled in the industry. The collection was intellectual yet, not entirely serious, it was comical in it's ability to take an assortment of unlikely colours and textures.

The use of prints on garments drew a reference of the propaganda used by Communism and was a reminder of Miuccia Prada's past role as secretary of the Milan Communist Party; it was a nostalgic resonance of the past and what is to come in the future. Miuccia Prada used the clothes and colours as a blank canvas to spread the propaganda of feminism and empowerment of women in the same that the Communists used the colour Red predominantly in their propaganda posters. These clothes acted in the same way as paste-ups on a wall, contending the role of women in today's society.

The opaque comical boldness of the colours, together with the designs, spread a message of the feminist movement juxtaposing the sonority with the great consequence of women today. Perhaps, her message for the world is the present occurrence of the new 'domino effect'. It is interesting that she utilised these references to Communism in such an empowering manner. This collection represented the utopian world and innovative nature created by the feminist movement, again, a play on the ideology of Communism - aiming for an achievement of utopia .

In some cases there is often blind praise for Prada because of its namesake, however this truly is a collection which challenges your understanding of fashion. The audience views one of two things from such a collection: pieces of material or a movement. To understand it as a piece of material, is simply fine however superficial and shallow in its capacity. To understand the collection as a movement, is one which gives life to both the viewer and the clothes, as well as facilitating that movement, the viewer becomes introduced to the collective of that movement, thus, creating an mutual commodity.

Prada has destroyed the boundary that is superficial nature of fashion that is blasé, and produced a collection which is radically seditious. This collection captures the essence of intellectual nature of fashion design.

The Prada look is after all, defined by its fashionably intellectual content.


Images from Style.com

Rodarte Spring/Summer 2014

"Inspired by L.A and California", let's stop there. Rodarte in the last few years has been a brand which is notorious for it's exploitation and questionable appropriation of Aboriginal art and factory workers in Ciudad Juárez, one of Mexico's most violent towns. The Mulleavy sisters somehow think that this is "edgy" however, in reality, a line has been crossed and this recent collection depicted their attempt to venture away from inappropriate appropriation. I honestly do not understand this recent desperate attempt of a collection by the Mulleavy sisters, to me it seems like a lot of leopard print with a motley assortment of so-called "edgy" designs. The collection as a whole feels extremely awkward and disproportionate when worn. 

Although I understand that their vision of Rodarte to bring forward fashionably provocative pieces every season, this collection simply is fashionably inept. It was an ennui of looks which proved to be cheaper and inferior interpretations of Saint Laurent by Hedi Slimane.

Perhaps, Rodarte Spring/Summer 2014 is a representation of the Tumblr famous sensation known as "soft pastel grunge". 

Images from style.com

Altuzarra Spring/Summer 2014

Altuzarra's collection was much more interesting, it was nice to see that he branched out of his usual fuss-free aesthetic that he's most comfortable designing. While the collection did still carry many interpretations of this aesthetic, I found the collection to be anticipated for a younger and more constraint audience than his previous collections. Yet this collection still lacked defined innovation for the Altuzarra label. With a name like Altzuzarra, I expected nothing short of raw and edgy, pieces of clothing which would be able to impose their opinion on the audience.

There was nothing new or unique about the silhouette of the garments and the tousled fabric over the waists of skirts seemed messy and unnecessary. Thus, the entire collection appeared to be an unruly assortment of ideas.

Nonetheless the velvet used to create many of the skirts, was accentuated beautifully by the drapery and tousled nature of it's use however, I'm not too sure how appealing this would be to accentuate this area of the body. It was perhaps nostalgic of the infamous Comme Des Garçons Spring/Summer 1997 collection often referred to as Lumps and Bumps in which Rei Kawakubo aggressively and shockingly challenged the traditional perceptual boundaries of the female form, volume and space.

Prabal Gurung Spring/Summer 2014

I had heard so much about this collection from various people on Tumblr, everyone was talking about Prabal Gurung, and it was mostly due to the fact that there were obvious influences in his collection from international designers such as Raf Simons for Christian Dior.

I have to admit that I do not hate this collection. There is nothing particularly innovative nor distasteful about this collection however it did get people talking about Prabal Gurung and although this may be fairly negative publicity, publicity is still publicity. I've never really paid much attention to Prabal Gurung as a designer because I do not feel his work constitutes what I value most about fashion which is progression and independence. While I'm glad for his extremely successful dependency on mass appeal, Gurung is in my opinion one of those designers who just make pretty clothes.

In the late 1960s a system known as "line for line" was introduced as couturiers sent their original designs abroad to be copied by retail stores for a fee. This relationship was most notably developed between the fashion industry's of Paris and New York.

In the same way, Gurung's collection was perhaps a "line for line" inspired homage to the some of the world's most coveted brands and labels - an homage to the Raf Simons' of the world.

After all, imitation is the sincerest form of flattery.

Images are from style.com

Alexander Wang Spring/Summer 2014

There was something very unsettling about Alexander Wang's Spring/Summer 2014 collection. I don't think this is a representation of his best work, but instead a collection created for economical purposes. But then again because of his appointment at Balenciaga perhaps I was expecting too much of Wang this season.

This collection is more or less what high end commercialisation looks like. Yet his use of branding in this collection is extremely interesting and perhaps represents the way in which fashion and consumers of fashion have become brand obsessed. Obvious branding such as the use of monograms has long graced the fashion industry as a form of our mentality to brag about or show off what we have and our affluence -  in the same way that in history it was desired to be fat as it showed wealth.

There is no doubt that this collection however will be extremely popular among many, it's fun and witty but most importantly it's very Wang.

Someone asked me whether fashion was about progression or regression, I think in the case of Alexander Wang this season, he regressed to his origins as a designer of casual street style. Nevertheless, I admire his ability to stay true to his origins, his original aesthetics as a designer and the Alexander Wang brand.

Images are from style.com