Fashion_Week_: Wiem, że zimy mamy już gremialnie dosyć i wszyscy myślimy o wiośnie, jednak zimowa kolekcja Burberry Prorsum przypawia o zawrót głowy. Boskie, genialne, konieczne.
w krótce opis kolekcji
Vogue_: Christopher Bailey playfully titled his elegant Burberry Prorsum show, “Trench Kisses, A Collection of Classics and Christine Keeler.” Keeler was the attractively tousled early-sixties good-time girl who helped to topple Britain’s Conservative government of the time, following the revelation of her simultaneous liaisons with a cabinet minister, a drug dealer—and a Russian spy. “I liked the idea of this very established, classic heritage world meeting a sassy, sweet, sexy, subversive world,” Bailey explained backstage.
This meant playing with the brand’s signature trench coats and greatcoats—in a traditional menswear palette of black, white, camel, and dregs of wine-red—by adding storm flaps of clear rubber, nail-head trim, or epaulets of thin gold bars, and marrying them to vaguely period-appropriate pencil skirts, form-fitting angora sweaters, pedal pushers, and kitten wedge heels. The result was classic with just the right degree of contemporary twist—like the broad rugby stripes in navy and blood-red foulard silk, or the new Crush bag, worn scrunched and flattened under the arm.
Bailey’s heroine could be saint or sinner. Saccharine little hearts were scattered as a print over a ladylike sleeveless sheath dress, for instance—or on the knickers cheekily revealed beneath a translucent rubber skirt. Those hearts resurfaced—this time overscaled in gilded metal—to anchor the shoulders of black or white va-va-vamp dresses in stretch jersey (a gentle reminder that Bailey designed for five years with Tom Ford at Gucci).
The animal prints—jaguar, giraffe, leopard—also ran the gamut from brassy to classy and were especially chic printed on sheared fur as soft as velvet. A stellar use of the animalier motif was the toffee suede trench decorated with abstracted big-cat spots in shining golden metal. Other inventive embellishments included perforations of gold rings, and a three-dimensional effect built up from a dense application of leather loafer fringes, for a black leather trench, say, or a conker-brown leather skirt.
Bailey certainly knows how to set his shows to music; from the beginning, his sound tracks have been potent—even moving at times. This season, following Misty Miller’s cover of “Happy Together” and Paloma Faith’s searing “Picking Up the Pieces,” panels of the backdrop (a trompe l’oeil of pale travertine panels, subtly worked into the Burberry check) opened to reveal Tom Odell and a chorus of backup singers in black trenches who sang his haunting “Hold Me.” Bailey certainly knows how to stage a powerful show.
This meant playing with the brand’s signature trench coats and greatcoats—in a traditional menswear palette of black, white, camel, and dregs of wine-red—by adding storm flaps of clear rubber, nail-head trim, or epaulets of thin gold bars, and marrying them to vaguely period-appropriate pencil skirts, form-fitting angora sweaters, pedal pushers, and kitten wedge heels. The result was classic with just the right degree of contemporary twist—like the broad rugby stripes in navy and blood-red foulard silk, or the new Crush bag, worn scrunched and flattened under the arm.
Bailey’s heroine could be saint or sinner. Saccharine little hearts were scattered as a print over a ladylike sleeveless sheath dress, for instance—or on the knickers cheekily revealed beneath a translucent rubber skirt. Those hearts resurfaced—this time overscaled in gilded metal—to anchor the shoulders of black or white va-va-vamp dresses in stretch jersey (a gentle reminder that Bailey designed for five years with Tom Ford at Gucci).
The animal prints—jaguar, giraffe, leopard—also ran the gamut from brassy to classy and were especially chic printed on sheared fur as soft as velvet. A stellar use of the animalier motif was the toffee suede trench decorated with abstracted big-cat spots in shining golden metal. Other inventive embellishments included perforations of gold rings, and a three-dimensional effect built up from a dense application of leather loafer fringes, for a black leather trench, say, or a conker-brown leather skirt.
Bailey certainly knows how to set his shows to music; from the beginning, his sound tracks have been potent—even moving at times. This season, following Misty Miller’s cover of “Happy Together” and Paloma Faith’s searing “Picking Up the Pieces,” panels of the backdrop (a trompe l’oeil of pale travertine panels, subtly worked into the Burberry check) opened to reveal Tom Odell and a chorus of backup singers in black trenches who sang his haunting “Hold Me.” Bailey certainly knows how to stage a powerful show.
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