Tom Ford worked up an unapologetic homage to glam rock for spring — with the focus squarely on the glam. Models with Joan Jett-esque shags and kohl-rimmed eyes strode out on towering platform-soled sandals in a lineup of superlean, glitter-and-sequin-spangled designs.
According to his show notes, Ford mined his own designs from the late Nineties for inspiration — though some of the looks also were a nod to Hedi Slimane’s rocker take at Saint Laurent. And while the spray-on, kick flares and sequined tops were reminiscent of the velvet hip-huggers and satin shirts from Ford’s hit Gucci collections, there was a harder, more rebellious edge to this outing.
Among the high-octane designs was a long-sleeved black minidress sewn with chainmail-like bands of silver leather and a thigh-skimming dress that shimmered with gold sequins, with cutaway tulle panels at the waist level.
Even when Ford turned down the volume, the looks were still provocative, as in a black ankle-length skirt, slashed to the thigh to expose sheer black stockings. Meanwhile, a finale of evening looks had a subversively seductive feel, inspired, Ford said, by Carlo Mollino’s photographs. A transparent black chiffon top was sewn with bondagelike black sequin bands, while black tuxedo pants were paired with a sheer mesh top, embroidered at the bodice with strategically placed metallic wild flowers.
Burberry Prorsum RTW Spring 2015 Images & Source WWD
Christopher Bailey donned his rose-tinted glasses — and beetle-green, cornflower, and mimosa lenses, too — for a collection that drew on the joys of a country spring. There was no sign of mud, manure or mosquitoes in Bailey’s Eden, only gossamer fabrics, iridescent surfaces — and decorative bugs.
Runway music was on theme with a live acoustic-guitar performance by James Bay playing “Clocks Go Forward,” among other songs. It was a whimsical, sensual — and ultimately wearable — collection from the brand’s chief creative and now chief executive officer, who said he was drawn to the idea of rebirth — and to the contradiction between the fragile and the strong.
Those ideas played out in hard and soft pairings such as wasp-waist denim jackets— some edged in shearling or ostrich feathers, others adorned with glossy leather patches — and skirts made from swirls of pastel tulle or paved with iridescent yellow paillettes the size of silver dollars. Jackets done in cropped fur the color of mimosas or in beetle-green suede were layered over diaphanous pleated dresses — some strapless and tiered, others with high waists. Bee- and butterfly-print dresses had fluttery tulle panels at the front, or at the shoulder, while printed trenches, their designs inspired by vintage nature illustrations, were cinched at the waist with soft swathes of tulle.
Shoes — not fragile by any means — were foot-friendly in the form of flat, Birkenstock-like sandals with chunky, multicolored straps, or bright patchwork sneakers.
Tom Ford showed a strong lineup, from the simple velvet shift that opened the show to Stella Tennant’s finale look. Santa Fe, N.M., and London, Ford’s two principal residences, fed the twin themes of the show: iconic styles from the American West and the pert proportions of the Swinging Sixties.
Tom Ford RTW Fall 2014 was last modified: February 28th, 2014 by thefashionistyle
Christopher Kane unleashed a blast of ideas that climaxed with outstanding cocktail dresses decorated in sheets of stitched organza that spilled like damp pages from an open book. Wet-looking, featherweight nylon was a central feature of Kane’s collection.
Christopher Kane RTW Fall 2014 was last modified: February 22nd, 2014 by thefashionistyle