There are plenty of reasons i find myself biased when it comes to Prada since it’s hard for me to reason or justify most of her collections as something chic and worth-existing in the fashion world. This time,with sales decreasing,Prada worked with 50’s /70’s shapes and pastels (seen that before) as well as synthetic fabrics (nylon,neoprene) that made silhouettes look unnatural and cheap.The pants were so ill fitted that made me thing that,yes, they were made non chic on purpose!Using strategically placed adornments,the designer made dresses look interesting but seek no further than that.The accessories were brilliant,as always, sealing my idee fixe that Prada would flourish as an accessories’ designer.But just that,thank you very much.
Alessandro Michele’s Gucci show was a debut and one much expected.Still, there was no effort from the designer to meet any anticipations at all or constructing a personal sartorial vocabulary that would enable him to elevate Gucci’s legacy to new (and modern) heights.“I love the idea that a dress has a memory,” Michele himself stated,yet his work seemed to have no past,let alone a future.There is nothing from the archives,” he boasted later on backstage,not realizing perhaps that..yes,this was exactly the problem, not the solution!Gucci is an iconic brand with strong aesthetics and a silhouette that varied from ultra sexy to Giannini’s subtle sensuality.Instead,we were presented with a collection that clearly aimed to a much younger audience,with pleats,shapeless dresses and a series of ill fitted tuxedos that made Slimane’s Saint Laurent look almost successful..And that is not an euphemism.
Allow me to admit i am a fan of Marchesa, as Georgina Chapman and Keren Craig never seemed to disappoint me in the past,so much more now that they chose elaborate,chic decadence right out of Thomas De Quincey’s pages ”Confession of an English Opium Eater”,with the same extend of indulging fantasy. Only here,instead of laudanum,there were elaborate embellishes,dresses with strategically cut bare sides and strong thirties references .This was more of a Baudelaire bordello chic than Hollywood black-tie event,till, if there was a way for me to embrace ”princess gowns”, well that was the collection i needed!
Thom Browne’s Fall 2015 Ready-to-Wear collection was a study in mourning attire,therefore a study in black, probably inspired by the ”Death Becomes Her” exhibition currently on display at Metropolitan Museum.Or, a study in mourning as an attitude,a collection bearing an almost ”Freudian” obsession to loss,emphasized by strong,all black silhouettes that looked interestingly modern.There is something ultra classy in this ”twisted” pieces,something that surpasses ”revival” and goes back to the ”roots” of fashion per se.The styling was much elaborate yet it was easy to see that each garment, so carefully produced, could make a statement piece of its own.Yes,this was a collection full of statement pieces and at the same time a clever exploration of mourning attire,set in a performance that brought in mind some cult black-and -white films (see Dreyer dramas) as well as near death experiences-aka the perfect setting.