Another good day, no GREAT day. There was plenty to love and be mesmerised by, more sportswear theme, darling evening wear and a a bit of a let down by Pamella Roland despite her stellar collection. Lets go.
Romy Schneider in La Piscine was Burch’s reference but there was an age of innocence with this collection, a sweet flirtatiousness. Interesting that she would choose Schneider and not Birkin, her co-star, as the subject but Schneider wins in the style stake in this movie. This was a uniquely resplendent collection with a nod to the cooler years of the sixties; flowers and hedges that looked hand-painted on little white dresses and separates, latticework on several pieces, piping, jewelled embellishment… Silhouette wise things were controlled which worked well with the prints and patterns. The mini lattice patterned shift dress with a handbag filled with fresh flowers and flats looked too cute, the floor length ditzy print maxi with a jewelled embellished high neckline ticked a sweet curve. There was a bit of matchy-matchy going on but it served it purpose of emphasising the looks rather than overwhelming. But I was not here for the mini fanny-packs though, not at all.
I don’t know how else to tell you that this show was gorgeous that to say THIS SHOW WAS GORGEOUS. I’d like to leave it there but I can’t. I mean this was an awe inspiring show that gave, gave and gave again. We went down the Riviera in the 20s right to the 30s, channelling images from Lartigue’s photograph, from the private jet to the yatch, dressed in tweeds, navy, silks, searing reds and peaches for an evening of dinner and dancing. The look was easily supreme daytime elegance and night time glamour. I fell in love with the tweeds and silks, the layered chiffon and silk polka dot skirt and belted blouse with cloche was a stunner, as was the fine knit cardigan with white and navy chiffon and beaded skirt. The sleeveless silk shirt and floor length skirt is destined for the red carpet as is the silver silk layered navy floral gown. Nothing and I mean nothing, about this collection lacked.
Another experiment with motion, Vera Wang turned out a collection of colour blocked, sports inspired wear with bright colours of red, blue and mustard. Mesh inserted in the little black dress and bomber jacket. The opening looks were all black everything with a fusion of sports wear, crops and full circle skirts, all looks with headbands and ponytails. The evening wear rang in the colours beautifully blocked, in simple vest dresses with racerbacks and spaghetti straps that were in a roundabout way, all but simple. There flashes of more body conscious pieces, still in that sporty feel and it is to this end that Wang blows us away, making sportswear work as glamourous evening wear.
This collection was a let down because of the absence black models in the line-up, not a single one in all 43 looks. Bethann Hardison, Naomi Campbell and Iman have launched a campaign for a more diverse and inclusive fashion industry, so these things have become even more noticeable and we should keep talking about it. Shouting about it until it gets put to right. But I guess there were none available…I say that with a hefty dose of snark. The collection was fit for a duchess, Rolland is banking on the Duchess of Cambridge’s association with her brand and making it tailor made for a woman of a certain lifestyle. It was the best of the 70s with high necks, pussy bows and big hair and billowing materials. Packham showed her chops with her beloved bead work which were both elaborate, glamourous and expected, but that didn’t make the high neck, long sleeved powder blue gown with intricate bead work, for example, any less beautiful. But there was something extraordinary about the less elaborate pieces too like the red pussy bow gown, the mustard blouse and baby blue skirt combination with a wine sash. Still, there were no black models…