Spring/Summer 2016 Trends

Forgive me, for I know we are still embracing the last of those wintry months, however it has come to my attention that we must begin to address the fast approaching Spring/Summer season.

Although this post very much focuses on the trends for next season, trends on some level are dying out. There is such a huge desire within the fashion industry to be original and individual that people withdraw themselves from any of the trends and choose clothing which is either: really comfortable and cheap or unique (investment buys), for example, the 'urbanista', as we now call it. This is a person who believes only in a non-mainstream and alternative way of dressing, someone who can adapt their style to their surroundings, as it were. 

Don't get me wrong, the trend is still very much prominent, yet I think we must choose to focus more on purchasing those timeless pieces which will last in our wardrobe eternally. So, without further a do, I present to you, my dear readership, some of the key trends for Spring/Summer 2016:

• Soft, subdued shades of buttermilk, shortbread, biscuity browns and chalky pinstripes plastered onto layers of new proportioned linen speak Spring/Summer simplicity. Take Balmain's voluminous toffee suedes or chocolate browns transposed onto tiered ruffles and jewelled lattice work, definitely amplifying the connotation of glamour.

Balmain

• Sleep no more? Silk, satin and lace- along with lots of skin- were all over the Spring/Summer 2016 runways as lingerie-inspired slip-dresses, laced-up negligees and sheer nightshirts went from in the bedroom to sartorially sharp.

We saw brands such as Celine, Givenchy and Dior all embrace the day-into-night inspired looks with open arms. One must-have is the camisole top from La Perla, retailing at £300. Envision that paired with a YSL Le Smoking jacket, low slung tapered trousers and a pair of Louboutins. Undoubtedly pure Parisian perfection.

YSL Le Smoking Tuxedo

• There seems to be a rather strong movement of New Romanticism for Spring/Summer. The Victoriana trend has been dousing the catwalks throughout the last few seasons. However, now, designers are filling the catwalks with an ultramodern take on traditional femininity- hence the powder pink hues, flouncy frills, fanciful florals and pie-crust necklines. Seen at McQueen, Fendi, Vetements and JW Anderson.

McQueen

Fendi

J.W Anderson

• As I mentioned previously, there has been an introduction to new proportions. Take Phoebe Philo for Céline's masculine vs feminine idea. Moving away from minimalist shapes and diluted colours, into more accentuated silhouettes and voluminous dimensions- crepe trousers, puffed up shoulders and cinched in waists. Unquestionably a clever way to add a bit more fun and freedom to your wardrobe necessities.

Celine

• It's just one of those well known facts that everyone adores a white button-up. It's the go-to piece which can, without a doubt, tszuj up your wardrobe with a single blast of formality. This season, designers haven't just taken the basic white shirt but given it a complete re-model. We have now seen a complete deconstruction take place of one of the classic staples. We now have tops, skirts and bustiers all fashioned out of the garment - albeit keeping to modern standards of vast layering and futuristic lines and cuts. Seen at Margaret Howell, Delpozo and Jacquemus.

Delpozo

Jacquemus

• Forget your flats, it's all about the flatform now! Yes that's correct, it's time to say au revoir to ballet pumps and Yeezy Boosts (if you do so dare to own some) and welcome in a new addition- the hybrid flatform Greek sandal. Seen at Chanel, Burberry and Giambattista Valli.

Chanel

I hope this provides you, my darlings, with some help for next season's shopping sensibilities. Now I shall depart and wish you all a happy New Year!

Please Note: I do not own any of these images, courtesy of Vogue.com, Vogue.co.uk and YSL.com

 

Chanel Spring/Summer 2016

I used to be the biggest fan of Chanel. I think it is fair to say that I much prefer Chanel show spectacles like the Supermarket from the Fall 2014 collection rather than the actual pieces in the shows.

My general feeling about Lagerfeld at Chanel is that he's lost his touch, completely. Don't get me wrong: we still have a reference to Coco - sharp structured tweed suits in now a multitude of newly developed sporty neoprene fabrics and garish marbled colour palettes; somewhat ruining her pioneering, signature looks, however.
 
Saying all this, Karl seems to have a tendency to push everything out of proportion. In a typical prêt-a-porter show, we normally see a strong 40-50 looks that fit perfectly into a set theme or incentive. However at Chanel, we see a frankly lack-lustre 90 or more looks, most of which are the exact copies of the ensembles we have seen prior to that specific collection. 

 

 

 

To buyers and editors, enthralled would be an understatement; they feed off the giant branding sets which today took the shape of a Chanel Airport. A set which we have seen in the past, to be exact Spring/Summer 2012 Couture- Cara Delevingne's runway debut, was the collection which allegedly showed the future for Chanel's Haute Couture. 

However, I digress. This season's Chanel was all about the jet-setting life of the super-rich (hence the presence of Kendall Jenner who closed the show).

photo 1-1

photo 1-2

The clothes simply did not radiate quintessential Coco or even the basic essence of Chanel for that matter; they emitted a futuristic angle which was more tacky than anything: giant orange mirrored aviators covered the faces of the models paired with flat-formed plastic drawstring boots and bubble-gum PVC coats.

 

 

 

 

In contrast to my rather pessimistic point of view, there were some undoubtedly beautiful pieces- the sour-toned checked tweed jumpsuit which opened and the layering of kick flares underneath full chiffon or leather skirts, dabbled with the ideas of classicism meets the digital era. The branded wheelie luggage bags and petite airplane brooches will definitely get the global e-commerce soaring.

 

 

 Kick flares which sat loosely under full-skirts

 

There was a definite sense of diversity, albeit eclectic, in relation to the overall execution of the show; diversity was shown through the model casting and the new, fluid silhouettes sent down the runway.
At this point in time, it seems that futurism is the only theme that Lagerfeld can bring to the Chanel check-in desk. For example, those trainers he put in one of his Couture shows, or those crushed Camellia flowers which emblazoned a tweed overcoat. I'm sorry to say this, but I do believe it is time for a change. The brand is in need of a new lease of life, Karl has led an incredible legacy, but he's coming to the end of his time.

 

Please note: I do not own any of these images, courtesy of Vogue.com & edwardlewisstyle.com,

Alexander McQueen Spring/Summer 2016

This season Sarah Burton drew from the archive at McQueen, re-imagining some fundamental ideas that Lee himself used through his
unfortunately cut-short career. Focuses: romanticism, naturalism, alongside a seemingly integral historicism - which we have been seeing a lot of all through this fashion month.

It was a rather surprising collection, there was nothing dark or grotesque, no harsh latex masks encapsulating the model's faces and, remarkably, no unique fabrics like synthetic hairs or impala horns.
 

Instead, we were presented with an array of simply beautiful, classic clothes. Fluid, floral printed gowns draped in cascading blush pink ruffles and Lee's signature 16th-century red military tailored jackets which sat over a sheer tiered skirt, asserted a gentle regalia mood over the engrossed spectators. 

 

Alongside that we saw Bohemia inspired by English Folklore. From the slashed blue jeans paired with a heavily embellished top of roses, to a delicate French laced top with a ruffled trail stratified over a pair of white slouchy trousers and white trainers (a look similar to the Givenchy Heroine).

 

 

Despite these pieces containing so much fragility and ethereality, there was an underlying fetishistic tone- corsets and chained harnesses mixed an unlikely combination of Bohemia and Victoriana, featured in the evening gowns.

 

 

 

 

There was also an idea of age and decay. Let's take the silk faille floral jacquards and the frays on the hem-lines- they felt to me like they were unfinished works of art, like a wilted rose subjected to years of abandonment. However nothing was actually incomplete with this collection, it was all done within the McQueen aesthetic and perhaps that's what made it feel so cleverly distinguishable.



silk faille floral jacquards

 

 

Please note: I do not own any of these images, courtesy of Vogue.com