Vogue International Editor Suzy Menkes is the best-known fashion journalist in the world. After 25 years commenting on fashion for the International Herald Tribune (rebranded recently as The International New York Times), Suzy Menkes now writes exclusively for Vogue online, covering fashion worldwide.
There were many ways to interpret the abundance of design tropes for this S/S 2016 collection
2 Октября 2015
“It’s fantastic and wild,” said Charlotte Rampling when I asked the verdict of the actress who lived through the Sixties fashions of mirrored shards and Plastic Fantastic — and had just seen it all over again on the Loewe runway.
Sitting in an elegant, ginger suede coat, which was another side of the collection from creative director Jonathan Anderson, Rampling added that references to the Sixties and Seventies were all over the place. And she is not wrong. I have already seen many Courrèges A-line mini skirts and much Paco Rabanne hardwear in the collections of those resuscitated brands and elsewhere.
There are two definitions of “all over the place”. It can mean “ubiquitous” or “chaotic”. I did not know how to read Jonathan Anderson’s Loewe, because it was such a meld of fine fabrics and strokeable leather or suede bags, along with shattered mirrors and cling film trousers wrapping the legs like dry-cleaning bags. (Memories of Martin Margiela so many years ago.)
Anderson used hyper-modern materials at the start of his own line. But all the stand-out pieces were in the sumptuous suede associated with the house — and with the sand colours the designer has used since he introduced an Ibiza element to Loewe.
But there was a lot else going on. Wild geese flying across tops. Colours intriguing but not explicable, in the brightness of blue and yellow, softened with peach.
It is good to have a young, fresh designer, who wants to try everything. But maybe the past, especially the 1960s references, could be cut out.
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