Isabel Marant’s boho-band blend dipped its toe into Eighties waters today – high waists on white jeans cinching in her cable knits or reworked Bretons, rah-rah frills jiving down sleeves and skirts, single earrings to compound the point.
There were huge boyfriend-sized jackets and all the pieces she does so well and so right for her customer. It’s always youthful, it’s always that embodiment of nonchalance – it’s always that girl, it is Marant herself.
But a twist in proceedings came towards the end of the collection in a boudoir surprise: sheer white and black swingy dresses with lacing frothing down the front into frills. Surely this was a little more girly and sweet than we know from this chick?
But, wait, hang on, she can do frou too! But when that’s not her vibe, there was plenty here for stalwart fans – those who merely need a style update on the seasonal Marant staples that already inhabit their wardrobe.
Polished, industrial, sharp and serious – one can’t help but think that ever since Jason Wu took on the helm of Hugo Boss this time last year that the aesthetic has filtered out onto his own eponymous line. As we saw at the start of the week, his namesake label was less full of the flounce and frou that it once was. And Boss is about a certain precision, a heritage luxury brand. That said, among the silhouettes today there was a renewed softness – rounder shoulders, a play on proportion and panels for lithe dresses and leg-of-mutton sleeves.
Joseph Altuzarra has been taking to the New York Fashion Week schedule for five seasons now with investment from Kering behind him. And it’s serving him well – each season his aesthetic moving on and stepping up into something more refined and more luxe. This collection was an absolute case in point: flamboyant, sinuous and sexy, this was an incredibly seductive collection.
Sexy high boots, we’ll take them; pie-crust ruffles on white lace dresses that were barely dresses at all, yes please; fluting pencil skirts that splayed playfully around the knees, definitely. It was all cut beautifully and just as much as it was sassy, it came with a repressed primness – those high ruffled collars that hinted at Victoriana strictness.
Altuzarra had cited Truman Capote’s social swans and Gloria Vanderbilt as muses. “I was interested in American High Society in the Seventies and the aesthetic dialogue that it fostered in design, fashion and art,” he explained. And with this suitably fashionable and social fairytale in place, he added his own interest of eclecticism spanning the Sixties to the Eighties, as well as a dash of contemporary culture – the latter of which kept it all in wearable check, and made the use of slits, sequins and lace, velvet and devoré, and pie-crust collars all the more clever and enticing.
EVEN those who don’t inhabit the hyper-real realms of couture will know Giambattista Valli’s handiwork. He’s the man behind one of Amal Clooney’s wedding weekend looks and the man behind Rihanna’s pink froufrou confection, worn at the Grammy’s and which meant she could barely sit down. This is a man that knows how to make a dress – and today they came big and bulbous, taking on a floating life of their own in sweet sherbet shades and garden party paradise flowers that weaved and wound down tasselled fronts and feathered hems. Cascades of tulle made for squirty cream skirts and peplums plunged around waists, earrings serious chandeliers dangling.
There was a continuation of the long and lean silhouette that we saw among his ready-to-wear collection and there was his hallmark bubble shapes for skirts and dresses too. These were robust but beautiful forces to be reckoned with, huge bug-eyed shades to complete a contemporary and youthful look that Valli has managed to coin, albeit one that might not be all that easy to walk in (Rihanna, we assume, can testify).