Anthony Vaccarello, Dries Van Noten and Alessandro Dell’Acqua (most recently of Rochas) are always the first to inform — from their male yet decidedly female-savvy point of views — the way women will want to dress.
It is not until the Sunday of March’s Paris Fashion week, when Phoebe Philo at the helm of Céline and Clare Waight Keller for Chloé unveil their collections, that the wheels of women-for-women intellect fall into motion.
Now couple that with Stella McCartney’s Monday morning spot and you find yourself face to unexpected fabric with an unstoppable trio of wit, power and the indispensable hankering to jovially shout in favor of our lady parts (all of them) sans words. After all, when you’re considering the blanket coats and shearling mules of Keller, the frayed trim and boxy silhouettes of Philo and the loops of fringe coupled with zippers that don’t zip but create the illusion of vague floral prints of McCartney, what else can you think?
Céline does this thing every season where even in spite of the clothes — which are often a thick discussion point, the details that inform how to “get the Céline look” manifest in the minutiae. The way a bag is held (for dear life), how many earrings a model is wearing (one very big one) and whether hands are free to meander or left in pockets (both, but they’re never actually free) seem to function as exclamation points that speak accurately to the spirit of the woman while the clothes (The fringe! The gingham! The leopard!), like in a sentence, simply provide the words.
Keller’s collection for Chloé looked like the grown-up sequel to spring with its pared-down, minimalist washed white skirts and blouses — the ruffles endemic to the clothes, of course, notwithstanding. Knit was the magic word in New York and we saw a lot of that here, too. There was fringe on some of the styles that provided the splash of character, but it was one particularly large leopard print coat, replete with red, white and yellow sparse stripes that confirmed it: you need a good coat for the season. Everything else is, quite frankly, superfluous.
Where flatforms continue to reign and exposed, feckless and highly artful zippers function as knee patches, Stella McCartney played with tones of red, green and blue, introducing turtlenecks under wide collar jackets, more of the knits (and fringe), and in a series of finale dresses, five reasons to forgo early mornings, get on your favorite shoes and dance. And really now, what better message can a collection send?
Images via Vogue & Style.com