The inspiration: An abstract short film, titled Offshore, 2011 by artist Magali Reus (not done specifically for Loewe but a video bought by the brand for the collection) served as the main influence.
The collection: A continuation of fall/winter 2016's collection and an extension of the spring/summer 2017 menswear story, the Loewe woman has found herself in a summer home surrounded with art and culture — the backdrop for Loewe's SS17 show space. Guests were transported to an adobe where furniture, ceramics and lamps were part of the setup. Some even took their seats on the aforementioned furniture. The exaggerated yet feminine silhouettes from FW16 remained. The focus this season was in the experimental execution and complex workmanship. After all, it is the craft that Jonathan Anderson wishes to highlight every season where special techniques are required to dismantle and reassemble — the result: Fresh abstract cuts. Upon examination, domestication in the form of reinterpreted lingerie and undergarments of the '20s was a recurrent element seen through boning details, bustiers, and corsets.
The accessories: The clothes were stunning, but it was the accessories that deserved our attention. All 49 looks (the biggest collection Jonathan Anderson has conjured up to date) were punctuated with a bag. Every single one scaled up to supersized proportions (evidently a key SS17 trend). There were the iconic styles, Hammock, Trapeze and Flamenco for loyal fans in new iterations such as woven leather and tapestry printed onto suede. For SS17, a new shape is born — The Canoe. Now, let's talk jewellery — that had show goers deep in conversation as they exited the venue. Last season's cat necklace has evolved into a bat. Silver bracelets are sculpted to mimic Ikebana vases, and the standout accessory of the entire collection was those calla lily cuffs in leather and metal as well as on footwear. Once again, Anderson surpassed all our expectations with flying colours.
ISSEY MIYAKE: COLOUR-BLOCKED KABUKI
The inspiration: Gone were last season's billowing micro plissé gowns and, in their place, geometric colour-blocked separates that drew inspiration from the Japanese art of origami.
The collection: A resolutely modern display of sleeveless shifts splashed with geometric shards of rich colour (looks 1 to 5) and suit separates folded and layered like angular origami (looks 7, 10 and 11), interjected with the maison's iconic sculptural pleats applied to jackets and coats (looks 20, 28 and 30), with an interlude of tribal plissé dresses (looks 32, 34 and 37). In short, it was a veritable Issey Miyake fusion of Eastern and Western codes. Favourites? The finale of maximalist pleats interpreted on column dresses in vivid colour-blocked strips (see looks 41, 43 and 44).
Something you might have missed: Those high-platform, Kabuki-esque strap sandals in verdant green, hot mustard, and blush pink. Bright, bold, and precariously beautiful.
CHRISTIAN DIOR: WE SHOULD ALL BE FEMINISTS
A new chapter: The highly anticipated debut by Maria Grazia Chiuri (one-half of the former design duo at Valentino) was an evocative announcement of a new chapter for the storied French maison, with logo tees — "We should all be feminists", read one tucked under an embroidered tulle skirt; "Dio(r)evolution", read another — heralding the first Dior womenswear collection to be helmed by a female artistic director.
The collection: A clear departure from the sculptural minimalism that defined Raf Simons' tenure at Dior. Held at Musée Rodin, Chiuri opened the show with a palette cleanser of all-white ensembles — quilted fencing jackets matched with capri pants and white slip-on sneakers (looks 1, 3 and 5); sheer tulle skirts held together with bare corsetry save for 'Christian Dior' shoulder straps (look 11) or a bleeding red heart on the left chest (look 12) — before parading whispy full-length gowns in ebony and powder blue, embroidered with floral and celestial motifs. Very delicate, very beautiful, and undeniably, also very Valentino. Will the Dior customer gravitate to this new diaphanous aesthetic? Well, if the standing ovation at the end of the show is anything to go by, the odds look promising.
Buro loves: The modern styling of knit pullovers with feminine embroidered skirts (looks 55 and 56), and a red leather moto jacket (note: Jennifer Lawrence wore a black version to the show with a pair of distressed boyfriend jeans) over pleated tulle in the same vivid hue (look 36). Badass.
The best street style from Paris Fashion Week SS17
The best street style from Milan Fashion Week SS17
The best street style from New York Fashion Week SS17
The best street style from London Fashion Week SS17
Best shows from Milan Fashion Week spring/summer 2017
Best shows from New York Fashion Week spring/summer 2017
Best shows from London Fashion Week spring/summer 2017
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See all shows from Paris fashion week spring/summer 2017.