It just occurred to me that I haven’t posted runway reviews in what’s felt like forever! So, I’m taking advantage of having the newly released photos for Resort 2016, and finally posting on designers: Chanel, Bettega Venteta and Dior.
First up, we have the Bottega Veneta collection, that could very well be the simplest yet most thought out and planned collection in quite some time. Let me explain. Tomas Maier, (creative director) has that genius when it comes to sales. Many designers design for themselves. They send models down the runway that they personally love, without much thought about either what would sell, or what the public would want to see. Maier however, was inspired by not a foriegn country, architecture or muse like others are: but of the whether.
Although practical, it’s a factor too many designers don’t take into consideration. He designed this collection for the whether it debuted in, so his pieces were truly ready-to-wear. As for the design aspect, it was apparent that he wanted to protray a more masculine look, quite in these past couple of years. It featured an array of trousers and some sporty looks such as jackets and brightly-trimmed blazers.
I loved the color pallets of mainly red, turquoise, black and a cork-colored and patterned beige, and I think that the style was exactly what women are looking for today, as opposed to other collections that rarely cater this well to the consumer. I love how it’s apparent that he’s taking a women’s daily life into consideration while designing, and I think it’s what makes the label so successful.
Ah, the Dior collection, how I easily loved this collection the second I saw it. Somehow reminding me of “Clueless”, and of my love of plaid print, it also met all of my expections I had for the reknowned brand. The architectural- inspired collection was complemented well by its location in which the lineup debuted: Le Palais Bulles. It’s such an odd, quirky structure with a crazy design, but in the end only strengthens the appeal of this seasons Dior clothing.
As for the design aspect, it could be best described as a playful one. Abundant of knit and crochet pieces, the overal design still managed to have that level of maturity with a rather industrial feel, including silver and steel-appearances that juxtapose…well, the rest of the quirky collection. It was absolutely a surprise to many to see this easily apparent twist that separates this collection from those in the past: it’s not as mature. Which is something (at least I’m pretty sure!) everyone had no problem welcoming. Change is good, everyone. Change is good…*dramatic and slow transitional outro* (Sorry, but yes I had to do that…sorry)
And of course, a season roundup will never truly be complete without a proper review to Chanel. Truly keeping to their well-known aesthetic and love for tweed, Langerfeld has proven once more his ability to reinvent their iconic style to something new and fresh. I was particularly intrigued by the first print that made its way into the runway: a bright, summer print of patchwork that in this particular design could only be found in Korea.
And rightfully so as well, as Karl’s show in Seol focused on the inspiration of the ever so famous K-Pop culture, that he captured so perfectly and was praised for. The inspired-looks included a nod to the traditional Korean garb, shown through a “high empire line and flaring sleeves on full-silhouetted dresses.” (Style.com)
Overall, the lengthy 96 outfit lineup had enough diversity in balance with a remaining cohesiveness, making this resort season a remarkable success. I personally loved this cruise-wear collection’s eccletic feel. It reminds me a lot of the 70s style, but re-invented. (As you have all probably noticed by now, walking into virtually any department store and seeing the 70s-infused pieces.) Although this style was never one of my favorites, I rather like how the Chanel brand was able to modernize the classic style.