It seems that in this whirlwind phenomenon we’re calling technology, there is such a rush to churn out information, that sometimes the race appears to be about urgency rather than substance, who can submit their review first, rather than who can deliver the most comprehensive wrap up. Each season presents us with collections that took month upon month to create, representations of heart and soul from the designer and their exhausted yet unfaltering team. It’s an intricate, meticulous and painstakingly time consuming process, but heaven forbid if we, the consumer, have to wait longer than five minutes to read a review, get hold of a backstage interview or a glimpse at the debut images. Remove the subject away from relevance, so to speak, and take it slightly out of context. Collection reviews written by clear heads, relative and in reference to the rest of the season.
Or, I could just be making a long-winded excuse for my decision to choose vodka and magazines by the pool for the last two weeks instead of sitting my butt down in-front of the laptop. Either way, here’s my reviews from Paris- true to form focusing on Chanel, Vuitton and McQueen.
A giant imposing globe was positioned in the centre of the runway, illuminated by 300 individual points making reference to the reality of Chanel’s world domination, "I've got my feet on the ground, but this collection is up-to-earth, not down-to-earth,” said Lagerfeld. The shadow casting, icy aesthetic, depicted a winter garden of luminous proportions, as designs of serious substance and depth made their way around the Chanel globe. Dark and lean, the collection paid homage to streamlined silhouettes, element aggressive brilliance, Anna Wintour’s infamous bob, the double skirt and a boxy variation of Chanel’s north star, the tweed suit.
Vintage, undone glamour, slightly tarnished with an air of the drastically indulgent or tragically depressed. A sense of the morning after, sighting direct correlations to the exhibitionistic and voyeuristic tendencies that Marc Jacob’s believes hides in all of us. In New York it was an iridescent, glowing sun, for Vuitton, in Paris it was, fittingly to the collection, a hotel of grandeur proportions. Perfectly referenced by style.com as ‘intimacies exposed’ the collection was a romantic portrayal of decadence, executed in muted tones and luxurious detailing
Teasingly brief and so short it was almost cruel, Sarah Burton’s Fall collection was one of royal enchantment with underlying and coincidental references to the Catholic Church. The intimate presentation of just 10 looks, more than made up for its lack of size and spectacle with its beautiful grandeur, awe inspiring creativity and detailed decadence. Glorious pairings of opulence and embellishment, it was a breathtaking reality hit of what one can achieve in just 10 looks.