Sunday, March 3, 2019

The Old Celine is back. Hedi Slimane's bourgeois tribute.

Hedi Slimane presented his sophomore women’s collection for Celine on Friday night. Following an outpouring of criticism towards his debut, it appears that Slimane, formerly of Saint Laurent and Dior Homme, has altered the recipe to a more respectful rendition of what Celine should be in 2019.

His first women’s show was punctuated by a chorus of skimpy party dresses which resembled a hangover from his Saint Laurent days. His men’s outing was about sharp tailoring and elevated outerwear—again, boasting a likeness to the work he presented at Saint Laurent. It was diametrically opposed to the approach his predecessor, Phoebe Philo—whose fondness for soft fabrication, clever tailoring, and quiet luxury captured the hearts of many—took. 

It was amusing then, following Slimane’s Saint Laurent rehash, that he should plunge into the depths of the Celine archive, reinventing the house codes for today. The Celine referenced was not the Phoebe Philo heyday—definitely. Not. Slimane is too uncompromising and blunt for ‘quiet luxury.’ His aesthetic is the fashion equivalent of taking the most direct route possible to the final destination, no detours, no stopping to take in some scenery. He’s as decisive as a full stop. The Frenchman is a cultural provocateur, a master marketer. He might focus on merchandise but, ironically, his merchandise is unlike much of the other ‘stuff’ you’re met with on most runways, from New York to Paris. Here, he conjured the spirit of the house in the 1960s and 1970s, when it targeted the French bourgeoise with functional glamour. He made a case for ‘old money’ style, the central focus was an unwavering classicism. 1970s Celine served fresh for today.

Of course, Slimane’s critics were quick to flag comparisons to everything from Saint Laurent to Isabel Marant to Zara to Vanessa Seward, likening it to “basic” fashion. However, what they might’ve missed is Slimane’s response to a) the critics and b) the times. For all of last season’s oppressive party dressing for the eternally youthful, there wasn’t an ounce of exposed flesh on this runway just pragmatic propositions for grown women. From their thigh-high boots to winter car coats, the models were adequately wardrobed for the season ahead.  

Slimane’s fashion is uncompromising in its razor-sharp approach. He nails something which most contemporary fashion designers, save for a few, ignore. Clarity of purpose. Exactitude. This collection can be simplified into categories: sharp blazers, fur coats, capes, culottes, blue jeans, patterned dresses, and check trousers. The knee-high culotte was the primary proposition: they arrived in multiple fabrics and colours. Another key point? Pockets—on everything. Slimane speaks the language of practicality but he also understands the value of image-making: almost every model had their hands buried in their pockets, not offering a singular care in the world. Quintessential laid-back French bourgeois chic, in essence. 

With pinstripe suits with turtlenecks to Princess Di-esqe check skirts and blouses to equestrian-influenced blazers and blue jeans, Slimane’s tribute to the bourgeois style tribe that has faded from high fashion’s view but, as he shows, it’s timelessly chic, a permanent currency that still makes women—of certain style orientations—swoon.
Photo Credit: Vogue Runway

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