This collection read like an easy, breezy introduction to summer. It began with a foundation of alternative suiting, with some of the traditional elements – stiff, structured cuffs, tailored trousers, collared blouses, and satin blazers – yet the ultimate construction exhaled an air of freedom with loosely stitched-together sheer, flowing silk, and cotton. It had a fantasy feel to it, with shimmery, metallic, fish scale-effect, knitted skirts and sweaters, looking distinctly like medieval chain armour. Carefree glamour translated into glittery sheer shirt sleeves and skirts. The Ice Queen and her frosty regality were reimagined through a veil-like organza dress in icy-blue with a silver sequin bust. A laidback palette of cool tones dominated the runway, ironically awakening spectators from a winter of hibernation. Muted patterns also featured: pajama-like, pinstripes; geometric shapes of daisy yellow, white, strawberry-red, and electric blue; denim bleached to create cloud-and-sky-effect. The silhouette was waist-accentuated using a rose gold neoprene, corset-style belt with exposed cobalt-shade zippers. Accessories were innovative, to say the least: two-tone rubber ankle boots; minimalist jewellery: simple silver chain necklaces with a metallic ring or a smooth pebble and seashell; store security tag-style plastic earrings. Rather than actual handbags, models clutched vibrant green palm fronds, handbag-style, or layers of beaded necklace, carried in-hand like the chain strap of a crossbody, worn across the chest like a sash, and – of course – as jewellery.
Yohji Yamamoto, as with all his previous collection, he chose, once again, to experiment with fabrics and shapes and created intriguing combinations of clothes. His creations were constructed out of cotton, washed toile and poplin which helped him create fine-gauge knits and light dresses. The most impressive part of the collection were the looks which features ensembles of clothe put together with the assistance of buttons rather than draping. “Each customer can play with each silhouette; it’s natural change,” Yamamoto explained about his buttoned creations. His large shoe collection transformed the clothes to eveningwear or an everyday choice. Wedge sandals, tennis shoes, futuristic sneakers, derbies, desert boots and open-toed oxfords were plenty to alternate with the different looks walking down the catwalk. Yohji Yamamoto proposed alternating looks with his collection for SS18 and we could not be more thrilled.
“Just as rain returns to the sky and then falls to earth again, The present is equally a part of the past,” read the poem in the show notes. This continuity of nature was portrayed in the Miyake’s collection which was presented in the Grand Palais in Paris. The fashion show opened with three dancers, Aliashka Salamand Hilsum, Princess Madoki and Gala Moody, who improvised stretching while wearing Miyake’s classic Steam Stretch fabric. Models in groups of 2 or 3 followed walking down the runway while wearing creations in black, ice blue and white colors – colors which alluded to the colors of Iceland (where Miyake’s design team visisted). It also worth mentioning the checked looks of the collection which were made with the use of traditional “Dorozome” mud dyeing method from the Amami Oshima island in South Japan. Issey Miyake’s fashion consisted of the distinct colors which make him a master of fabrics.
Dries Van Noten
Dries Van Noten presented his collection for Spring Summer 2018 collection in Hotel de Ville in Paris. Van Noten stood against the latest trend in fashion, reflecting the pessimism and difficulties of our times. “We always say that fashion is a reflection of our times. Well, maybe that is enough of that! Let’s do something optimistic, enjoy things – and really go for it!,” he explained. As a result, an explosion of colours and glitter became evident throughout his collection. Impressive clothing creations such as vertically stripped pantsuits and black tuxedos with organza and jewels were seen walking down that catwalk. The shoes were another part of the collection which stole the show as vivid yellows, greens and sequinned oranges of the boots complemented the attitude. Dries Van Noten’s positivity in his clashing cascading hues of a comprehensive 69 looks are set to change the world.
This collection showcases designer Sarah Burton’s desire for an optimistic collection. She said: “I want to celebrate beauty and femininity (through the) healing power of flowers”. The result was an amalgamation of regal and drama draping the rain-drenched manes: swan-feather-effect, glittered ivory dress with cream-and-pearl clutch; beige and gold floral jacquard paneled trench-coat with brown ombre buttons; gold-studded watermelon-pink top with sheer, grid-like, crinoline skirt; dracula-inspired black-and-red leather peplum dress with metal clasps and a zipper-slit skirt; wide-skirt dress adorned with peach and magenta roses and carnations, accented with a brown leather harness. It was an embracing of the typical English spring and summer weather, pairing a gorgeously romantic, circular-ruffled maxi-dress and satin bralet with chunky black patent ankle boots. Layered and exaggerated, each look was a blend of different pieces: a coconut-white dress was split down the middle, with a Marie Antoinette-style ivory bodice with gigot sleeves on one side, and a lace corset on the other; a quilted coat with metallic sleeves and accentuating belt; black mandarin-collared topcoat with windowpane-checked sleeve and waist detailing; raspberry explosion of gingham and floral in a ‘50s chiffon dress; oversized sweater with sequin applique and zippers around the shoulders, elbows, waist, and hips. Jewellery was embellished with large statement beaded rings and wide bejewelled gold cuffs.
Natasha Ramsay-Levi had many firsts of her career with Chloe this year. She became the first French women to be appointed by the house after Martrin Sitbon in 1988, and also gained her first position as a creative director. As a result, a lot of people in the fashion industry were looking forward to her first show and what she was able to bring in the house from working with some of the greatest names in the fashion community in the past. Levi managed to combine what she learnt from her previous works with her own taste and ideas and come up with a unique collection which also fit with the name of Chloe. Chrisp cotton dresses painted with symbols of eyes and hands, tailored leather outwear, skinny cropped jeans and trench coats were the clothes that stole most of the glances in the show. In addition, accessories such as cannage leather boots, python boots and multi-strap bags finalized the looks. The collection showed the rise of a new era for Chloe – an era in which Levi is going to lead the house to a bright future.
Created for the ‘woman on the go’, and made to be versatile, stylishly comfortable, and easy to move in, she would have the freedom to deal with heat in the chicest manner. Inspired also, in part, by the oyster, you see its components embellished quite freely on the pieces and through pearl-adorned jewellery. The hard exterior of the oyster can be seen in the oversized yet structured blazers and padded shoulders, while the luminescent, angelic quality of the nacre itself is brought to life with sequins. A uniform was created with the gingham and stripe print throughout in monochrome as well as soft pastel shades of blue, green, pink, icy-blue, and red. Using light materials such as linen, cotton, sheer, crochet, and smooth silk bore the air of femininity but not overtly so. Tassel hemming and feathery tweed gave a breezy, whimsical air. Each look was paired with accessories : miniature two-tone satchel bags, small totes, open-toed sandals, floppy hats, sunglasses, and mirror-chain belts. The looks were all day-to-night transitional with the help of lightweight leather trenches and one-shoulder jumpsuits. The aim was to look put-together but not overdone.
While listening to the alternative tunes of Warhaus playing live, Sebastien Meunier presented his collection for Ann Demeuleneester for SS 2018. The designs were simplistic but, at the same time, they managed to express a rock style which reminded of women’s rock attitude in the 1970s. Through the use of only black and white colours, Meunier created a collection consisting of long coats, vests, cropped pants, oversized shirts and hats decorated with feathers. There was a flow in the silhouettes of the models which was the aftermath of the cuts and textures of the clothes as they combine the rock attitude with slick shapes. Sometimes simplicity is the key to the creation of something new. Meunier used this simplicity in his SS18 collection to bring out the stylish rock ‘n’ roll attitude hidden behind every woman.
Karl Lagerfeld turned towards nature and presented his latest collection for Chanel in Grand Palais which was transformed to the Gorges de Veralon waterfalls. Lagerfeld pointed out that he was inspired by the song “What the water gave to me” by Florence Welch and thus created a collection which played with the reflection and the transparency of water. Clear plastic boaters, coats, capes and gloves which created a beautiful image as the light hit the plastic, parade down the catwalk. Tweed was omnipresent in dresses with fringes and iridescent fringes, pants, blazers and skirts. Crystalline pearls, crystal water drop earrings, oversized bags and the classic Gabrielle stole the show. There were, of course, numerous people of the fashion world sat on the first row to witness his creations emerging from an impressive water and light waltz.
“People have two sides,” that is the message Jun Takahashi wanted to convey through his collection for SS18. With the help and blessing from his photographer friend Cindy Sherman, he was able to use her conceptual portraits on different looks, such as merch t-shirts, t-shirt dresses and formal party frocks. Models walked down the runway in pairs of two representing the theme of his show. The creations shared similarities in the silhouettes, colours, accessories and fabrics. The show artistically closed with real twins dressed as the sisters from “The Shining.”
In the courtyard of a landmark school, Carol Lim and Huberto Leon presented the SS18 Kenzo collection which drew inspiration from Kenzo’s two muses, supermodel Sayoko Yanoguchi and musician Ryuichi Sakamoto. The Asian Persuasion casting better reflects them. By taking a step back and just focus on pure joy for once, the male models walked down the runway in suits with stacked pockets and stain ringed shoulders, high-waist belted pants, t-shirts with album covers printed on them and sport jerseys with “Love will make a better you” printed on them. The female models followed wearing deconstructed patchwork dresses, bike shorts, double breasted blazers and oversized shirtings. Leon and Lim displayed a marriage between vintage and futuristic looks which showed the past, the present and the future of the house.
Paul & Joe
Sophie Mechaly marries girly and grown-up in her Spring Summer 2018 collection. A girl lost her innocence just like the others did in Wild at Heart and Virgin Suicides. Floral, prints, pastels, white and blue were in the retail-friendly daywear such as flounced shorts, cropped knitwear, hip-hugging jeans, tailored trousers and slip dresses, progressively morph into blue embroidered overalls, pyjama pieces, pastel brocades and slipper-like Mary Janes in velvet were added to the collection giving an air of Las Vegas to the catwalk.
Alessandro Dell’ Aqua presented a “contemporary volume” Spring Summer 2018 collection for Rochas, with many reversible modern Japanese fabrics. Black, yellow, violet, and red with accents and extra volume on the hips and chest can only witness this statement. Small square bags and black cat-eye sunglasses complemented the refined and wearable evening wear.
1st image Lanvin
2nd image Litkovskaya
3rd image Loewe
4rth image Esteban Cortazar
5th image Galliano