OUR PICK OF MFW AW11 - FASHION JUNIOR

Posted by Fashion Junior at Large

The Fash Ed is currently negotiating the busy streets of Paris, and I am sure she will have plenty of insider gossip to report upon her return next week. In the mean time, this is the time of year when we analyse every look from every collection - and I mean every look. Before we get swept away in the glamour that is Paris Fashion Week, it's only fair to give Milan it's due attention, so here are my personal picks.

(Before anyone chides me on the high ratio of black outfits, Milan Fashion Week generally only offers three options: black, sparkly, or both. So it's a wonder that I found any colour at all!)

Dolce and Gabbana - a collection of two halves, and what truly awesome halves they were! On one side, the girlish and glamorous, on the other, tough tomboy chic with added retro-ness (see below). Everyone is raving about the floaty star print dresses, but this turquoise glittery number really sparked my imagination. I like how it's a simple, glittering block of colour that you can style many ways, and the long sleeves earn extra cool points.

 Dolce and Gabbana (part II) I couldn't limit myself to one pick from this collection. Having never been one to shy away from a sequin, I am drawn to these spectacular trousers, and enjoy the contrast with the masculine Teddy boy coat. An outfit for days when you feel a bit La Roux-ish. Did I mention the boy shoes?! Brogues and sequins; like I said, awesome!

 

Sportmax. A lovely treat for the eyes at the end of a fairly minimalist collection; this flamboyant embroidery is just wonderful when combined with the sheer chiffon and neutral colour. I like how covered up it is too, with that appealing midi length and long sleeves (again). Librarian chic, nice.  

Antonio Marras. Another tricky collection to pick just one look from, it was full of 1930s inspired midi-dresses, in a palette of black, navy and cream, topped off with genuinely wrinkly Nora Batty stockings. I don't know why that is a good thing, but trust me when I say it is! But this outfit was primarily chosen for those fantabulous shoes: platform, peep toe, granny-strap, old-fashioned RED DREAMS. They even match my lipstick!

Pucci. Something worrying has started to emerge from Milan - the return of the Afghan coat. Seventies chic is alive and well, but that is one trend that I cannot cope with. The furry collar and hem of this decadent jacket alludes to that late Seventies look, but is a little more chic than a shaggy old Afghan. Pucci, on the whole, seems to be getting stronger and stronger, a real favourite here at FEAL HQ.

Gucci: wowarama. This collection was full on, in your face glamour, with lashings of snakeskin, fur, chiffon and colour. Teals, purples, turquoises; Frida Giannini has dictated the shades of the season. So if you are going to pick a red carpet dress, why look anywhere else? Anything that floaty and floral instantly brings out my inner Kate Bush, which is always fun!

Check back for the Fash Ed's picks, and no doubt updates from Paris!

All pics: Chris Moore Catwalking.com

CHRISTIAN DIOR'S NEW CREATIVE DIRECTOR SHOULD BE....

Posted by Fashion Editor at Large

John Galliano 

I didn't see this one coming: after over a decade at the helm John Galliano's reign as the Dauphin at Dior is over and done.

Paris - March 1, 2011
Today, in light of the deeply offensive statements and conduct by John Galliano in a video made public yesterday, Christian Dior has commenced termination proceedings against him. Sidney Toledano, Chairman and Chief Executive Officer of Christian Dior Couture, said: "I unequivocally condemn the statements made by John Galliano which are in total contradiction to the longstanding core values of Christian Dior". From the Huffington Post (via Racked)

While I am a long-time Galliano admirer, can't imagine a fashion industry without John Galliano, and feel compassion for the man, I ruefully agree that Dior chief Sidney Toledano had no choice but to fire him. It's so sad and a tragic way to go, but the bottom line is John totally brought it upon himself, albeit in the unconscious fug of intoxication in a bar in the Marais where he thought no-one knew him or cared what he was doing and saying. In another age maybe he might have been able to obfuscate events; in 2011 there's nowhere to hide from smartphone evidence (even if it wasn't from the night in question) streamed online by one of the worlds biggest media conglomerates. The hard truth leaves no room for public compassion - anti-Semitism is totally unaccepatble.

The ending at Dior also potentially sees his own eponymous line close its doors to him. It is a disastrous outcome, a gravity-defying fall from grace that is surely unprecedented in modern times.
It seems unfair to write all this about such an extraordinary talent. We all have our bad times - and to get through then in private and with dignity should be our right. But though it is unfair and unjust John Galliano doesn't have that option. He has been forced to face the music, but it could be a blessing in disguise. The extreme workload of the modern designer takes its toll on the most creative juices, and maybe a change is the best thing for Galliano and Dior in the long run.

But this is all only with hindsight. Until last Thursday I thought the business of Christian Dior was marching along buoyantly with Galliano at the creative helm. His creative work seemed  perfectly upstanding; the Spring/Summer 2011 collection was good. The multi-layered and coloured espadrille ribbon platform sandals from the collection have been massively influential.

Still. Transgression as a modus operandi succeeds on a creative level - but only if one doesn't let it contaminate the personal. Something Linda Grant writes on in todays Guardian online.

John Galliano is an enormous figure in fashion. Enormous. We in the fashion industry and beyond are in shock at the severity of the situation and will massively miss his design magic and  - on a totally superficial level - his famous catwalk exit at the end of each show. It seems silly to say but I feel lucky that I saw his very last show for Christian Dior in January. I hope he goes away somewhere to pull himself together with good friends close by and recover from  this. Someday he will be forgiven. Everyone deserves forgiveness and a second chance.

MOVING ON:
So who should Christian Dior be looking at? My first thoughts are the two Peters. Peter Copping, who heads up Nina Ricci, and Peter Dundas who heads up Emilio Pucci. Pucci is LVMH owned. Ricci is owned by the Puig group. In the same way that Bernard Arnault brought in Galliano to head up Dior from his position at Givenchy, it would be as simple for him to move Dundas into Dior. Or to hire Copping from Puig.

Peter Copping was key to the success of Marc Jacobs first years at Louis Vuitton, and his departure was keenly felt. In the last two years while Copping has been at Nina Ricci, he has brought a sweetness, elegance and purity to the house which is selling really well and bringing in legions of new young and not-so-young fans.

Copping, spookily, bears an almost striking resemblance to the real Christian Dior.

The real Christian Dior in 1953

Peter Copping of Nina Ricci

Peter Dundas of Emilio Pucci

Will update more later!

AW11 - BEHIND THE PRINTS

Posted by Fashion Junior at Large

It's safe to say that the AW11 collections in London were all about print. Our eyes were bombarded from every side with a rich feast of colour and shape blended into graphic patterns, and it was exciting to see so many designers embracing the allure of prints. We were transfixed, so decided to put our art-historian hat on to discover what the inspirational pieces which may have inspired the London designers.

Three stand-out collections deserve a closer look: the amazing prints at Erdem, Jonathan Saunders and Mary Katrantzou.

Erdem

We always have high expectations of Erdem's exquisite print designs, and this season their stunning beauty took on a new level of depth.

This statuesque column dress features an array of vibrant jewel tones; the velvet fabric adds to the rich depth of colour and gives the impression that different fabrics have somehow been burnt and fused together.

This trench - which no doubt be gracing many a Fashion Editor's back come next Fashion Week - has distinct echoes of Monet's Waterlillies series of paintings.

Blood red, stunning floral explosions and dappled colour. There is something about the drama and romanticism of these prints makes me think of Pre-Raphelite paintings.

Monet's Reflections of Clouds on the Water

Nymphs Finding The Head Of Orpheus by John William Waterhouse

La Belle Dames Sans Merci by John William Waterhouse

Jonathan Saunders

This collection was breathtaking in it's simple, yet beautiful elegance, and Saunders' amazing use of colour. The incredible repeated floral prints and bird imagery had strong similarities to the William Morris aesthetic of the late 1800s, but the colour palette ensured the looks felt contemporary.

The primary motifs were these intricate floral and botantical designs...

...interspersed with these blocky graphic shapes, which recall 1930s styles.

 

This lovely bird print was confirmation that birds will be EVERYWHERE by the time autumn comes around.

Prints upon prints upon prints! Inspired by nature, but made much more exciting with these bright hues!

William Morris ceramic tiles from the late 19th Century

The Strawberry Thief by William Morris

Snakeshead by William Morris (1867)

An original 1930s dress pattern, which echoes the shape and prints of Jonathan Saunders AW11

Mary Katrantzou

Quite possibly the best collection of the week, Mary's designs were spectacular, each print a complex hybrid of artistic references, including the superlative extravagance of Fabergé eggs, traditional Oriental designs and Russian Orthodoxy.

This painting-within-a-print is a beautiful example of ancient Japanese artistry.

The combination of graphic shapes and floral designs call to mind the decadent interiors of Russian cathedrals...

...while another Russian influence is clear to see: the gorgeous artwork of Fabergé eggs.

The Rose Trellis Fabergé egg, created in 1907 - a direct reference for Katrantzou's AW11 collection

The original Fabergé Imperial Clover egg, created in 1902 for the Tzar, Nicholas II, to give to his Tzarina. We'd settle for a piece from Mary Katrantzou AW11!

The interior of St Basil's Cathedral, with its beautiful floral designs

Traditional Japanese painting and kimono fabric, a distinct inspiration for the collection.

 

The scene has officially been set: prints will be at the forefront of fashion for AW11, and this time around they are intricate, bold and entirely beautiful.