Vanessa Friedman began her ‘Diary of a Cruise Season’ post with: “This season is a mess. The spring 2017 men’s wear shows are almost over, for goodness sake, and women’s wear is still in the middle of cruise 2017.” She ends the piece in a similar rage-bubbling fashion, “I know this is a time of unpredictable weather patterns, but it seems to me that when a new season begins, it’s time for the old one to end.” Perfectly summing up my opinions, Vanessa’s brilliant words will hopefully be listened to. In the space of two weeks, menswear ends, cruise continues and couture begins. There’s something flawed there.
My favourite topic (sarcasm!) ‘the fashion system’ has been discussed elsewhere in the last week or so. Writing for AnOther’s website, Susie Lau said “…questions currently swirling about the validity of menswear shows, with the current industry shift towards consolidated mens and womenswear presentations and the constantly in-flux sittings of creative directors…” That is the fashion industry in a nutshell presently. At London Collections: Men, the prevalence of womenswear interspersed in collections was unmissable. And it did pose the question, whether there should be men’s fashion weeks or not.
The constancy of fashion is both annoying and thrilling. As a blogger who doesn’t operate on the same schedule as sites like the Business of Fashion, Vogue Runway, WWD, I’m trying to post about everything I like and dislike before the season expires and the next one commences. Case in point: the long gone pre-fall 2016 feature on my blog this week. An act of defiance, but reflecting on it, probably confusing to the reader who have moved on from that season. Nonetheless, I felt it would be remiss of me not to share one of my favourite collections of the year, so far. Often, though I groan about the pushing of stuff, I buy into the appeal of newness.
“Let's put this one bluntly: the chaos that has taken over the fashion system — a confusing, exploding, dazzling, infuriating agglomeration of everything and nothing pointing in a zillion different directions, simultaneously,” wrote Angelo Flaccavento in a recent Business of Fashion article. A sombre note to end the month on, but as it stands, it is the most apt description of the fashion industry in 2016.
What becomes of the British fashion industry after Thursday’s EU Referendum is unsure, after more than half the population voted Leave, to exit the EU. The pound plunged, companies such as Burberry, Mulberry and Jimmy Choo took a tumble on the stock markets. It is a critical time for the British Fashion Council and British brands to ensure the support for designers. Speaking to the Business of Fashion, Caroline Rush said “We now have a role to play in keeping the government updated on our industry’s priorities and keeping the designer community updated on any likely impact to business.”
Dior is a brand that has felt impact to the business and creative wings this past year. Following Raf Simons departure last year sales dipped, although the company labels the luxury market slowdown as the reason behind the fall. Creatively, Lucie Meier and Serge Ruffieux haven’t wandered far from the commercial mindset, offering easy, saleable pieces to the customer. On Thursday, Reuters reported the co-creative director of Valentino, Maria Grazia Chiuri would soon be announced as Raf’s successor. I’m certain Maria Grazia will do an exemplary job, but I hope this doesn’t mean her role at Valentino is compromised.
Diary of Cruise 2017 - http://nyti.ms/28PzvXs
Gangs of Style: Decoding Pitti Uomo - http://bit.ly/28Jbgwr
Raf Simons, Gosha Rubchinskiy and Menswear’s Gang Mentality - http://bit.ly/28RR64q
Photo Credits: harpersbazaar.com, businessoffashion.com