Burberry Autumn/Winter 2017 #LFW

When thinking of quintessential British fashion, more often than not, Burberry will be the defining brand of British fashion traditionalism. It remains one of the most sought after and highly regarded shows in the busy schedule of London Fashion Week. This LFW was no exception. Fashion editors and online influencers alike gathered at Maker’s House, Soho to see creative director Christopher Bailey debut his new collection.

The night started with an electric guitar chord, and the hazy voice of Anna Calvi along with her band and members of the Heritage Orchestra & Choir. Live music is always an important part of Burberry shows, and this year was no exception with Christopher Bailey’s newest discovery. Bailey seemed set to combine as many art forms as possible this LFW.

Source

It seemed that Bailey relied on the sculptures of Henry Moore to enhance the show. The infamous sculpture ‘Mother and Child’ was placed beside the runway, between guests such as Penelope Cruz and Tinie Tempah. Anna Wintour was seated opposite Draped Reclining Mother and Baby. The sculptures themselves transcended their role as a spectacle for the audience; instead the art proved as ample inspiration for the clothes themselves.

The big sculptures present the natural body in an abstract form. For this show, Christopher Bailey took direct inspiration from Moore’s sculptures. He even worked closely with Moore’s daughter and took notes from the artists personal style in the lead up to the show. This is perhaps more evident in the forms of the silhouettes; bold shapes, exaggerated cuffs, shoulder details and deconstructed garments. With the smooth lines of the art surrounding the catwalk, it was easy for the audience to see how this translated into the slick curvature of the clothes. Ruffles, frills, lace and abstract hems gave the effect of a sculptor creating his own piece of art on the human body.

Source

This show was all about the shoulder. Grey jumpers with embroidery details, white ruffles, denim details. You name it, Bailey made a variation of it. Model after model appeared wearing some sort of upper accessory. Coming out of the recent AW16 season, the high street saw an epidemic of ruffles. Judging by Burberry’s new AW17 show, the trend appears to show no sign of dying out. Instead we should all expect to see more ruffles and shoulder details this upcoming Autumn. In terms of colour, this collection varies greatly from the previous bold prints and exuberant metallics. Bailey seemed to be in a very stripped back and organic head space, with stripped back navy, whites, blues and blacks dominating this catwalk. The clothes, instead focused on craftsmanship, tailoring and different textures in order to echo the omnipotent sculptures surrounding the room.

the-cape

Source     

The one piece of tailoring that seemed to prevail this collection was the humble cape. Particularly popular in 19th century Britain and important in the 161 years of Burberry history, the cape took a new reimagining in 2017. Capes in feather, lace, plastic- even one made entirely from crystal. Furthermore, in order to kick start the buy-it-now form shows have been adopting, Kendall Jenner picked up her own chunky knit cape worn to a party later that night.

Details at Burberry RTW Fall 2017    Source

In light of another successful show, where clean cut silhouettes and smart tailoring hinted at what is to come this AW17 season, one prevailing thought on everybody’s mind. The role of fashion in art. There is a long standing debate on it’s position, but Bailey has just reminded the public, by drawing inspiration from Moore and echoing his style, that he is the ultimate artist. Translating work from sculpture to human is no easy feat. Not only did Bailey prove the place of London as a credible fashion event, he also blurred the rigid lines between fashion and art, reminding us that designers remain some of the best and most successful artists there are.

‘Fashion now is much more than a product. It’s about entertainment and people feeling a part of something’

-Christopher Bailey 

Advertisements

Victoria Beckham AW17 New York Fashion Week #NYFW

Claimed to be one of her ‘best collections yet’, Victoria Beckham took New York in her stride with the debut of her new Autumn/Winter 2017 collection.

Source

Her family populated the front row, sat next to Anna Wintour. The family gifted Beckham a pre-show surprise of a bouquet of flowers to wish the brand good luck, as seen on her social media.

In a statement given before the show Beckham appeared to pay homage to the current political climate for women, with emphasis on the importance of speaking up and taking a stand against oppression. It seems that Beckham has the intention of moving away from showpieces and instead creating looks that could be worn in the bustle of everyday life.

This new re imagining of woman power in fashion saw Beckham display baggy silhouettes and androgynous styled clothing. The collection saw multiple pieces of tailored jackets and wide leg trousers, often donned by Beckham herself, take the runway. Very far away from the tightly fitted dresses of her previous collections, it seems that baggy is the new fitted.

Source

It is notoriously hard to pull off wide fitting clothes in a sophisticated way that does not look like you’ve drowned in material from your parent’s wardrobe when you were younger. In fact, anyone who remembers arriving to school on the first day of term in a blazer four sizes too big and still feels the sting of the words ‘you’ll grow into it’ may not be the biggest fan of the new AW17 collection. The ample clothing, therefore, is not the most accessible to her clients. However, this collection seems to have perfected the best way to style and wear the clothes. Elegant, tailored and fresh. The collection is fundamentally a glimpse into Victoria Beckham’s own wardrobe.

Ahead of her show, Beckham even said “It’s always fundamentally about what I like to wear”. By using tailored suits, rich colours of navy, oxblood, red, oranges and wide leg trousers, Beckham has succeeded in sending a subliminal message of strength. No loud political statement is required, only the subtlety masculine figures.

Coats had large sculptural sleeves and the boots were knee high and slouchy, suggesting that baggy clothes and masculine figures are the way to go for Autumn Winter 2017. Contrasting with the block colours, vibrant patterns were used. Inspired by artist Paul Nash, Beckham created the colourful pattern injected into her collection. Despite the masculine clothing, there is always room for elegance and sophistication.

Before the collection launched, Beckham stated that  “I have always been about empowering women, and that’s never felt more relevant than it does this season.” The result, a collection very much celebrating narrow and yet fluid figures. Beckham described the collection shown in Downtown Manhattan as “emancipation with optimism” and “feminine with a practical streak”. A chic take on big jumpers and double breasted jackets shows a new style for Beckham, but admittedly one that works. The new relaxed style of clothing that could be seen on the woman herself proves successful and another great show was given by the brand; a show that combined political agenda with the power and hope of women, as well as the practicality of fashion itself. It seems that Beckham is accustomed to change up her brand, and perhaps the face of fashion itself.

Victoria Beckham RTW Fall 2017 Source

‘I think the sexiest thing about a woman is confidence, but confidence in a humble way, not in an arrogant way. Sense of humor is definitely important. And sunglasses always hide a multitude of sins. Sunglasses and a great pair of heels can turn most outfits around.’  

-Victoria Beckham