Fashion commentator Glynis Traill-Nash wraps up the Fall 2013 collections – and that Saint Laurent collection.
The word bathos has always stuck in my mind since high school literature classes: a rapid descent from the sublime to the ridiculous. The international Fall season just wrapped could well be summed up in that one term. While there was so much of beauty on show, one major show at least could be reduced to a less literary acronym: WTF?
Last season it was all about the musical chairs at Christian Dior and Yves Saint Laurent. And while Raf Simons seems to have fitted in at Dior with aplomb, breathing freshness into the maison’s heritage sensibilities, the same cannot be said for Hedi Slimane at his renamed Saint Laurent.
Gone is any sense of elegance, any sense of house history. Where once M. Saint Laurent dressed the divine Catherine Deneuve, Slimane seems interested only in the likes of Pixie Geldof. Even Kate Moss would be hard pressed to pull off this mishmash of ’90s grunge with any sense of dignity. Last season’s dark (although overly referential) take on festival glamour has transcended into looks only appropriate for a Nirvana concert moshpit (and that clearly won’t be happening any time soon). Flannel shirts were thrown over metallic tulle minidresses worn with fishnets and biker boots; fur coats were worn over hotpants and floral blouses; leather miniskirts were zipped or buckled down the front and worn with bikini tops and sheer blouses. Everything looked vintage and thrown together, which, in the 1990s, was quite the look. For a heritage house of this standing, it’s frankly disrespectful. If M. Saint Laurent isn’t turning in his grave, I’ll eat my felt fedora.
But let’s climb back to those beautiful heights. Alexander Wang’s much-anticipated debut at Balenciaga looks like it will be a happier marriage than perhaps expected, given his New York street-chic background. The legacy of Christobàl Balenciaga was more evident here than the recent legacy of Wang’s predecessor, Nicolas Ghesquière, with cocoon shapes and tulip skirts, although the tone was dark and strict.
The work of Valentino designers Maria Grazia Chiuri and Pier Paolo Piccioli is so refined, so elegant, yet never stitched up or stuffy despite its prim leanings. This collection was at times regal (those fur coats with ermine collars), even medieval, with rich baroque embroideries, lace gowns with crisp collars and cuffs, and scallop-edged tunic shapes.
Sarah Burton went even more regal at Alexander McQueen. In a collection of only 10 looks, this was the closest thing to haute couture during this ready-to-wear season, and given Chanel’s extraordinary fabrics and handiwork, that’s saying something. McQueen’s Elizabethan queens wore pearl-beaded mesh headpieces and ruffs, high-hipped corsets, some featuring baroque curlicues in gold appliqué, feather coats, pearl mesh stockings, full skirts and sleeves. This was virtually a request to France’s Chambre Syndicale to be considered for haute couture status.
If McQueen’s woman was her royal highness, then Tom Ford’s was queen of the jetset. Ford was clearly having fun this season, with sexy lace skirts and trousers topped off with patchwork leather and suede coats, sequinned floral bomber jackets and “ka-boom” star motifs. There were touches of the orientalism at play at the moment, and leopard print, plus optical prints in black and white, all recurring motifs this season. On that note, sass & bide’s black and white graphics were also a standout, especially contrasted with that bold yellow. And speaking of Aussies abroad, Collette Dinnigan’s signature romantic lace pieces upped the dark sex appeal with leather appliqué and slimline, figure-hugging shapes. So what will we be wearing next season? The bomber jacket continues its reign as the most ubiquitous item of the season (even Victoria Beckham and Givenchy hopped on board with fur bombers), alongside the pencil skirt, whether in rubber at Burberry Prorsum, tweed at Dolce & Gabbana, or leather at Oscar de la Renta (with input from John Galliano). These two are often worn together, but the pencil skirt also looks really fresh with a knit and kitten heels, as seen at Burberry and Marc Jacobs. Leather is still creating everything from strapless dresses to pleated skirts, notably at Dior, Jil Sander, Prada and Calvin Klein Collection.
Funnel necklines were fresh at Jean Paul Gaultier, Chanel and Céline, while flippy, flared skirts (narrow over hips then flipping at the hemline in curves or even pleats) made their presence felt at Céline and Givenchy.
That ’60s feeling is still present in tunic dresses (Valentino, Victoria Beckham, Chloé) and boxy-shaped tops and dresses, especially when belted and worn over trousers and skirts (as at Karen Walker, Thakoon and House of Holland). And don’t go throwing out any checks (houndstooth, boxy, tartan) or leopard print just yet – they’ve still got plenty of life in them, as does the peplum, which is quickly becoming the trend that would not die.
Take a look at our Fall 2013 highlights gallery.
