A commercial collection to solidify Burberry’s move to ‘see-now; buy-now’, an innovation in the way fashion is shown and more importantly sold, allowing the customer to purchase straight off the runway. The idea is to cut out the six month waiting time, so that the collection does not seem old by the time it hits stores. This is what Burberry does. It is a commercial innovator, previously making pre-orders immediately available. Now however, their entire showing schedule has been rethought around this selling strategy.
Although this Chanel Haute Couture collection seemed to be so much about a ‘Lacroixian’ flounce, it was also about tailoring and more specifically the shoulders. Each painstakingly worked and embroidered tweed suit, a Chanel staple, seemed to have a different shoulder shape, a feature that was carried on into much of the ‘flou’ or dress making as well.
This was a collection about travellers. Mrs Prada herself described this season’s Prada women as “vagabonds”. They treasured their clothes as protection and as luxury. Heavy tweeds and sturdy denim formed the basis of timeless, protective coats trimmed with rustic furs – a Prada favourite. However this was not the usual technicolour-pop Prada fur. It was sombre and seemed to have a certain austerity about it. An austerity that ran through the many sailor pea-coats that so defined this collection.
Just this week, the news of Hedi Slimane’s departure from the house Saint Laurent was announced. The news did not come as much of a surprise as rumours of his departure were being heard since January. However, it did make the many changes of creative directorship at major houses more apparent, starting with Raf Simons’ departure from Dior in October, followed by the announcement of Alber Elbaz’s unceremonious firing from Lanvin, where he had been designing for 14 years.
This week, I have been thinking a lot about Raf Simons at Dior and Jonathan Anderson in general (which is a whole other blog post I may write some time). So, in light of my musings on Raf and his work at the house of Christian Dior, I thought I would write a short blog post about it.
First of all some a very short background on Raf Simons and how he ended up at Dior. He’s a Belgian designer who launched his menswear label in 1995. In 2005 he was made creative director of the house of Jil Sander and then in early 2012, following John Galliano’s dramatic firing from the house, he was announced head of Christian Dior showing his first collection for the house at the Autumn Winter 2012 Haute Couture shows.