Style Species

A cue that there is clarity in clothes: Chloé Fall/Winter 2020/2021 RTW

By Haleema SS

Effortless art prints, floaty silhouettes and a romantic colour palette, the collection embodied all the characteristics of a carefree spirit. As Kaia Gerber opened the show in a light, grid-checkered shirtdress, it was clear relaxed silhouettes were going to be a staple of the collection. And so they were as mid-calf and short dresses made their debut and so did skirts of varied lengths. The collection was also infused with 70s-style suits and attention to detail was present as there were illustrative badges on belts, embroidered collars and jewelled buttons and cuff-links on blouses.

There were also little pins added to jacket lapels and jumpers and one read “girls forward” highlighting the label’s individualism as the Natacha Ramsay-Levi told Vogue “Chloé doesn’t stand for any one thing”. She continued “It’s an open identity, something for the woman who wears it to define” emphasising the desirability of the label’s clothes as each piece was not only wearable but naturally distinguishable.

Also, the inclusion of artist Rita Ackermann’s work in the collection brought a refreshing approach to the alluring aesthetics of Chloé. Ackermann’s art involves abstract, bodily works which address issues regarding femininity in a contemporary way. This collaboration provided a great opportunity for the luxury label to express and expand its conceptual approach of the modern woman.

This experiment of fashion meets art (or vice versa) was strong yet subtle. There was sharp tailoring on the runaway but with the technical skill of illustrative design. Ultimately, with Chloe’s charm and Ackermann’s artistic eye, the experiment was a success.

My favourite outfits:

A Plaid Verdict: Dior Autumn/Winter 2020/2021 RTW

By Haleema SS

Hung above guests’ head, the statements from designer Maria Grazia Chiuri were strong. One read “Women are the moon that moves the tides”, another “When women strike the world stops” and the word “Consent” was repeated numerously. Each message flashed bright colours and felt incredibly relevant in the week of a win by women against the convicted sex offender and film producer Harvey Weinstein.

Maria Grazia’s message read and felt crystal clear as she told Vogue: “Consent means that you listen to what people say. We’re in a time when it’s difficult to have that attitude: to listen and to understand. So, I think consent is a strong word for today.”. But was this amplified, feminist voice presented in the collection? The short answer, no.

The first outfit featured a masculine style suit and this mannish theme was carried throughout the collection with the inclusion of baker boys caps and black ties. However, there were many contrasts in the show such as a 1970s boho-chic style was revived by a shearling bomber, bandanas, denim head-to-toe outfits and lots of fringe which was then followed (unexpectedly) by military boots and Mary Jane shoes. Wellington boots as seen at Bottega Veneta, Versace and Prada was (thankfully) present. Also, fishnet stockings were seen with all the varieties of shoes (clearly a pushing trend for this season).

An immense amount of plaid was in the collection and pops of cargo print, vest sweaters, tassels and leather made their way down the runaway. With the different fabrications and prints meshed together, it did work as the colour palette (black, beige, grey and the surprising shade of sage) was very minimal.

Though, in the practical sense, the collection was fit for a winter’s wardrobe but in the context of questioning historically-complexed issues regarding power and sexuality, Dior felt flat. The soft take on a strong message felt fresh but not memorable. The absence of urgency in the collection didn’t assert Maria Grazia’s voice, rather it became hidden in structured clothes which were nice in their own mesmerising way, but certainly not audacious which is what every women’s emancipatory movement requires.

My favourite outfits:

An Equal Opportunity For Flamboyance: Versace Fall/Winter 2020/2021 RTW

By Haleema SS

For Donatella Versace’s first combined women’s and men’s show, she did exceptionally well. The feminine and masculine expressions of sexuality blended like butter. Pairings was a running theme as from the very start of the show, two blondes were in loosely the same version of the black suit. Hers was a mini-dress with a cut-out décolleté which echoed his top.

Furthermore, LED screens were the backdrop of the runway. The screens which switched from patterns, a digital projection of Donatella Versace herself and even funhouse mirrors which provided a distorted view of oneself highlighting the fluidity of our faces and bodies. It is no doubt that Versace were implying the connection between the mind and body. However, even though the clothes were gender conformist, Versace was indicating the mind isn’t as Donatella stated to Vogue of her collection: “It’s about a strong point of view, which isn’t female or male”.

An array of black, structural looks was how the show began. Then followed burgundy and dogtooth patterns. Along came pops of striped colours and then soon came the neon prints. So did the mixing of zebra prints with dogtooth and even floral patterns which did not clash rather complimented one another. Monochrome paisley outfits and bright fuchsia began to rule the runaway. And to conclude the ninety-one outfits collection, along came tiger print, lime-green and metallic silver hues.

Glitz was also one of the main objectives of the show as sequins, diamonds and a variety of fabrications such as quilt, denim, knitwear and leather were present.

A collection comprised of ninety-one looks can be a lot to process especially if its Versace which is a brand known for mixing mediums and creating avant-garde designs. However, what kept evoking my attention was my admiration of Donatella’s classic body-conscious tailoring. The attention to the silhouettes’ structure was certainly of importance as Donatella told Vogue “Big shoulders and small waists” and “Strong and linear”. The dresses which all narrowed and broadened (in a flattering manner) were a delight to observe.

Ultimately, as the show was devoted to the fight against hate crimes, Donatella used her platform to remind us “We all have a voice and we must use it”. And what does every powerfully vocal person need? A diverse wardrobe (to fight any battle in style), courtesy of Versace.

My favourite outfits:

A Lively Mix Of Sportswear And Sensibility: Emilio Pucci Fall 2020 RTW

By Haleema SS

For Emilio Pucci’s Fall 2020 ready-to-wear collection, the brand embraced guest designer Christelle Kocher and the collaboration has proven to be nothing short of innovative. The show’s venue was a magnificent though dilapidated church installed with fluorescent lights. An odd choice for a vibrant collection. Furthermore, with Pucci jet set in producing geometric prints in the 1960s and Kocher elevating sportswear such as polo shirts and tracksuits with a couture workmanship – sporty looks is a common ground both designers share.

Printed denim, patterned tights, silky shirts and printed feathers which was an original effect created by Lemarié, the Paris plumassier where Kocher also works added a luxe feel to sportswear. The revival of the slip dress brought me joy and so did the continuation of the colourful legacy of Pucci but now with the edginess of streetwear. Both brands were an interesting mix of boldness but with a subtle touch of refinery.

My favourite outfits:

There’s Softness in Strength: Prada Fall/Winter 2020/2021 RTW

By Haleema SS

In a red-lit central courtyard which featured a red model of Atlas in the centre, Miuccia Prada presented a Greek mythological abstract which evoked a sense of urgency. The walls were painted black with purple flowers and curved white lines. And, the floors were kept monochrome with parallel lines. Mrs. Prada told Vogue that the stage was “a piazza”, an open square-space for the centre of fashion.

Grey blazers, pencil skirts, ribbed tights, brogues and classic bags which were spruced up via colour and tassels added a contemporary twist to smart tailoring. What was surprising to see was the wellington boot with a chunky platform being paired with workwear. Similar to the tassels on blazers and shirts and ties being used to add a pop of colour, these key pieces which drew my attention satisfied my spirit. The attention to accessorise revived the femininity in workwear but as a symbol of strength not solitude.

However, the fringed midi skirts which looked visibly great did not have the practicality of daily wear. But as a layering piece it stands strong. Furthermore, Mrs. Prada said “strong silhouettes” were important to her and this strength was exemplified in the collection’s woollen coats, 90s-style handbags and inflated blazers paired with padded leather skirts. These key pieces presented the balance between intensity and structure which was perfectly Prada.

The final looks concluded with Prada’s notable yet glamorous spin on pyjamas (although they seemed far too stylish to wear to bed). Black pyjamas of matching silk fabric with a floral pattern and fringed sandals to compliment exuded a sense of luxury. Perhaps, Mrs. Prada wanted to present the appeal of reinvention of well-known styles as she clarifies of her collection: “Not creating an imaginary world, but reality”.

My favourite outfits:

A Devotion To Drama: Gucci Fall/Winter 2020 RTW

By Haleema SS

“The Ritual” were the words Alessandro Michele used to define the show, ‘theatrical’ is mine.

The catwalk show was flipped inside out. Backstage became the main stage. There were two, three or more people working on each model which implied fashion is never a singular experience. The circular stage moved like a carousel as models were getting dressed from hairstyles to accessories to footwear. After getting dressed, the models stood at the front like mannequins in a shop window as the stage continued to move.

Pilgrim-esque black dresses, baby doll dresses, Edwardian gowns and tulle skirts evoked a sense of femininity. But to add an edge, leather harnesses were present. Though the dramatic element of the show was great, the collection as a whole was good. The outfits didn’t flow together as each had a story to tell of its own. There wasn’t a sense of a collective identity as there were too many symbols of religion, childhood and whimsical babydoll elements. Also, the introduction of the distressed, wide-leg jeans paired with bohemian-style tops made the communion even more confusing. The show needed some grounding as the outfits with its many details became too much to process.

Ultimately, the intensity and suspense made the show a delight to observe. The eclectic experience of what happens behind the curtain was representative of the digital age we live in. Everything is instant but often we forget the many people behind the carnations of fashion.

My favourite outfits:

Behind the Madness There is Leather: Rejina Pyo Autumn/Winter 2020 RTW

By Haleema Khan

In a long, dark railway arch, Pyo’s collection portrayed a structured reality but in an enhanced way. With the immense use of leather and gold chain belts, the show oozed a nineties feel but with a chic edge. The fabrications of the clothes drew my attention- there was lots of leather, boxy vinyl coats which were softened by light florals’ and satin pleated skirts. I also loved the colour palette as there were shades of browns complimented by a leafy green and glimpses of a rustic orange and even a light yellow which lifted the mood of the collection.

Pyo said of her collection to Vogue: “It’s a reaction to all the things that are going on at the moment” such as “Trump, Brexit, everything – the coronavirus!”. Although I felt the setting of the collection suited this context – a dark and depressive atmosphere perfectly represents the current political climate, yet the clothes did not uphold this gloomy ambience.

However, as I delve in deeper, perhaps the structured clothes present hope despite the current climate of madness. For Pyo, the clothes represent her pragmatic style but her newfound milieu is what sets the tone.

My favourite looks:

Sharp and Sensual: Proenza Schouler Fall Winter 2020/2021 RTW

By Haleema SS

To simply analyse the stylish show, off-one-shoulder is on. Sharp silhouettes, asymmetric frocks and oversized blazers are fashion’s embodiment of strength in style. Plush, puffy coats, draping capes and dresses in a silky fabric express a subdued yet sensual undertone.

What is the message being radiated?
Wearable chic is a world of its own which needs to be explored more often.

Proenza Schouler’s Jack McCollough and Lazaro Hernandez told Vogue that their inspiration for this collection was about “finding beauty in a world that is unravelling”. This process of unwinding and taking a fresh approach could be clearly observed in the stunning collection.

My favourite looks:

Of Aristocracy and Frills: Zimmermann Autumn/Winter 2020/2021 RTW

By Haleema SS

Fabulous frills, clashing of patterns and even the rare poncho, this show exuded an eccentric feel but with a refined taste. Each outfit was meticulously tailored and styled, making the show a delight to watch. Frill detailing was the key motif for many of the outfits which conveyed a modern twist to the noble style. What elevated the fresh collection was not only the outfits’ frills but also the fringed bags, balloon sleeves and unique prints. Nicky and Simone Zimmermann designs definitively ruled the runaway.

My favourite looks:

Clean Cuts and Cross-body Bags: Brandon Maxwell Fall Winter 2020/2021 RTW

By Haleema SS

The sole message this show typed and texted was wearability. The collection presented its focus on sharp tailoring and strong textiles such as velvety corduroy, alpaca, cashmere and suede which added a luxe feel to the outfits. I also loved the styling of the beanie as it was evoked a sense of chicness but in a relaxed manner. Look fourteen which featured the pairing of the heavy chocolate-brown leather jacket and white beanie articulated Maxwell’s great styling and execution.

However, despite the attentive tailoring, the outfits lacked the zest of runaway’s creative space. The collection was not a breath of fresh air but quite dull. I felt as though the outfits were repetitive and the colour palette was not adventurous. Look twenty-two which featured a collared and belted silver dress was a lovely touch but looked like an outcast. Also, look twenty-six which featured an olive-green and dark-grey outfit was a tasteful combination of colours but again, not striking enough for runaway.

In the end, what added a spectacle to the show was the backdrop of the American Museum of Natural History’s dioramas as it heightened the show to a sense of artistic finery (something one hoped to see in Maxwell’s designs).

My favourite looks: