Alessandro Dellacqua’s third collection for Rochas (he took over from Marco Zanini at the end of 2013) this evening marked the house’s 90th anniversary, which meant it was time to dig back into the archives and bring back out some of Marcel Rochas’s favourites and update them.
So out came a swallow print to nod to the 1934 collection dedicated to birds. It took flight on coats and dresses – beaded and black. There was the classic Chantilly lace to make everything Rochas-frothy, pretty and feminine – but this in fact was used more sparingly than we’ve seen before. Instead there was an emphasis on coats with a wartime posterity about them – the Thirties was the decade being brought back to life here. Which made it all rather restrained for a birthday collection – though we had punches of egg-yolk yellow to contrast the shades of brown and last season’s utility belts were given an upgrade to thick, waist-cinching belts.
And for fans of those now signature bejewelled shoes, they came encrusted at the heel this time.
IT was a romantic walk along the beach that MaxMara had in store for us this morning. A film backdrop of waves washing in gently to shore recreated the photos taken by George Barris in 1962 of Marilyn in more or less the same situation. And so the season’s scene was set: sensual and emotive, cosy and comforting, outerwear of course being the star of the show (MaxMara is a brand all about the outerwear), but this time in bundled, swaddled and swathed fashion.
So watery winter pastels incarnated fluffy mohair coat-and-cardigan hybrids to wrap these Marilyns up all warm – literal references to those photos where the star herself takes a seaside wander, pulling her coat just so. In fact, this became quite the lesson in how to wear one’s coat seductively when winter bites. Of course, splashing waves in the background was always going to help.
Classic camel tones, sand, mint, powder pink and chilly blue; fleecy tweeds, cashmere knits, quilting – everything was soft and romantic. Even the silhouettes that were a more obvious ode to Monroe’s sassy figure (nipped-in-at-the-waist dresses, pencil skirts and bustiers) came with a softness, a layer of light teasing texture to make them less obviously austere.
Here, hoods were to hide in, sleeves were to snuggle in: it was about protective dressing, be that practically or emotionally.
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.