We’re well into August and it’s a balmy 20 degrees in Johannesburg today. Although there is a nip in the air, I am adamant that Spring has indeed arrived and that is why, today I am wearing a skirt without stockings. I must admit, it is a somewhat foreign sensation having my legs rub against each other after being forcefully encased in stockings, tights, legings and jeans for 3 months. And the freedom sure does taste sweet. I’ve missed baring my … well .. bare legs.
Which bring me to my next trend on this series of Spring 2011 Trend report. Skirts.
In the past, spring meant brushing the moth balls of your favourite denim miniskirt or unearthing your favourite maxidress but this spring, it’s a little different. Introducing the Midi-skirt
Midi-length is quite obviously an inbetweener – in between Maxi and Mini. Midi length generally falls at or below the calf. The new hemline is an homage to ladylike dressing that was seen in the winter trends. You can emphasise the ladylike aspect of this length just like Tory Burch, Wes Gordon or Talbot Runhof. You could also incorporate the colour-blocking trend mentioned in my last post as seen at Prabal Gurung and Rodarte.
I’ve personally been sporting the midi-length hemline for a few seasons now and I’m glad to see it has finally become à la mode (in fashion). The look is très BCBG and although you’re at risk of look more old-lady than ladylike, dont be afraid of modernising the look or styling it up to your own taste.
It’s the first of August, and even though there’s still a slight chill in the air, the eternal optimist in me has dubbed it pre-spring. I look forward to packing away my heavy knit sweaters and coats because, quite frankly, they take up way too much space in my closet. Replacing them with all things Spring/Summer 2011.
In this series, with the help of the aficionados at style.com, I will summarise the runway fashions seen at S/S Fashion Weeks worldwide and the trends we can interpret from them.
Let’s go shall we?
Besides the warmer weather and the promise of summer, spring is all about colour. Every year this doesn’t change. What;s different about the colour trend this spring is that the colours have gone HYPER. No pastels or muted colours; think bright, neon and shocking. Try teal and electric blues or the poppy citrus hues that Aquilano.Rimondi played around with.
With colour blocking you forget all the rules your grandma taught you when it comes to coordinating colours. Colour blocking uses the most vivacious and brightest colours together to create vivid and confident look. The beauty of this trend, is that you can wear colours which you would not usually put together. So if the colours “clash” you know on the right track but it is best to stick to no more than three colours.
If colour blocking isn’t for you then embrace the hyper colour trend by pair bright with neutrals like white, black or tan. Keep the cuts classic, like a jump suit; à la Alexandre Herchcovitch, Issa & Fendi. Or a classic blazer like the ones modelled at Tommy Hilfiger and Aquilano.Rimondi.
The whole point is to look like a box of Crayons threw up on you. Kidding. Happy Colouring.
I will be modelling my winter looks after this collection. DIVINE!
Anyone who knows me, knows that I idolise the classic Parisian chic of Chanel & Yves Saint Laurent. In YSL’s Fall 2010 collection, he allows me to re-affirm my dream of sitting in a cafe avec une tasse de the (tea) & crossaint!
All in all, I see myself mimicking many of these looks come Autumn/Winter.
The polo jock look was inspired. The collection also made full use of the house’s horsey heritage, starting with the showbizzy opener of a dressage corps going through its paces under a mass of chandeliers. Which meant the key piece was a leather basque, highlighting the waist, attenuating the hard, precise silhouette.
Gaultier is a master tailor, and here he maximized his talent to create an austere but sensuous glamour. His singular twist was to build interest into the back of a garment, baring skin with jackets and tops that crisscrossed like wings. If they might be classified as a fashion bridge too far—along with the body harnesses, the jodhpur shorts, and those basques—there was temptation aplenty elsewhere.
Head Designer and Creative Director for Chanel, Karl Lagerfeld, gets a lot of his inspiration from dreams which have inspired a breathtakingly surreal setting: a monochrome ornamental garden, complete with fountains, which mirrored one of the film’s most famous scenes. A full orchestra of 80 musicians hypnotised the audience through romantic arrangements of Björk, the Verve, and John “007” Barry to soundtrack the 18-minute show. It all conspired to make the boldness of the clothes even more audacious.
It was as though Lagerfeld had taken scissors to Chanel—or maybe unleashed a cloud of ninja moths. The first outfits were riddled with holes that recalled Rei Kawakubo’s “new lace,” so radical in the early eighties. After the show, the designer said new fabrics were one of his touchstones for the collection, but he distressed them with selvedge, ragged edges, and a lattice of perforations. That chaotic quality persisted in dégradé chiffon florals or a monochrome tweed patchwork. The classic suit was reconfigured as a swingy A-line jacket with three-quarter sleeves and shorts as often as skirts. Almost everything had an unfinished feel, a thready, feathered edge. It loaned an enthralling urgency, and the fierce young spirit in the collection could be read as a swingeing riposte to the cutesiness that sometimes overtakes Chanel’s ready-to-wear. There were more than 80 models in the show, and each outfit created a character so individual that the clothes truly held their own against the majestic backdrop.
Have a look for yourself. Personally I think that Monsieur Lagerfeld can do no wrong.
I think when the late Mademoiselle Coco Chanel would be proud. Monsieur Lagerfeld has stayed true to Mademoiselle Chanel’s edicts. Designs and creations that are timeless, allowing the basic silhouettes to remain consistent from generation to generation.