Cruise 2019: Round-up
“Pre-season”, “resort” or “cruise”: whatever you call it, the season that throws the rule book out the window, stamps on it and rips it up too is in play. Once intended for the rich and elite swanning off on their (yes, you guessed it) cruises, nowadays the general consensus for the intention of the collections is more on the muddled side.
Carrying on the Cruise tradition is the lack of clarification in regards to the temperature which can often leading to a confusing concoction. Is one stepping aboard deck for a Mediterranean meander, or an adventure to one of the world’s cooler climates? Floaty beachwear cascading down the runway can look out of place next to the thick coats and knits that are given equal attention.
But, whether you’re heading off on holiday – in your head or IRL – these in-between collections can provide a much-needed injection of inspiration for your everyday wardrobe. Plus, who needs an excuse to browse clothing?
If anyone knows how to put on a show, it is Alessandro Michele. The creative director’s love for playing dress-up has been engrained throughout his previous collections, with his Resort 2019 no different. His latest recipe? An antithetic blend of gothic to retro cooked up within the flaming 4th century Roman necropolis of Alyscamps in Provence, Arles.
Granny chic springs to mind, as it often does when looking at contemporary Gucci, with each look taking on a different persona.
Oversized jackets permeate the collection, with the odd nipped in waist navigated either through artful tailoring or next season’s hottest accessory, the waist belt. Beiges contrast the pops of zany pink that Michele has used throughout as an accent across checked patterns and blown-up florals.
Coming days after the renewal of his contract, Nicholas Ghesquiere sent a collection of models through the paths of Miro’s Labyrinthe, ensuring that the location wasn’t the only modern art present.
The latest collection almost screams “the future is now”. Sculpted folds and oversized tailoring focused around the shoulders gave a modernist nod on top of a colour palette that despite some loud patterns seemed to remain muted and chic.
Layers of clashing prints and colours such as red and pink were built up and juxtaposed against the structured silhouettes that quite often featured the addition of a boxy jacket. Half way through, the show transitioned into a slinkier frame, giving weight to the underwear as outerwear trend that is looking popular for AW18. Silks were in abundance, as was the traditional feminine physique, nipping models in at the waist. Soft feathering layered up to create capes and jackets, punctuating the collection.
The show must go on and go on it did when the heavens open at the Dior Resort ‘19 collection, adding to the drama of the event. Ever since Maria Grazia Churi’s appointment at Dior, the Italian designer has turned the fashion giant into an advocate for contemporary feminism. This collection is no different.
Inspired by the ecaramuzas – Mexican women who invaded the male dominated, competitive rodeo scene – the collection’s tiered maxi skirts were reminiscent of the costume worn for dressage events and the famous Dior “New Look”. Smart khaki skirt suits pulled in at the waist and topped with wide-brimmed straw hats equated a colonial influence throughout, while the addition of shirts and ties underneath sought to redefine androgyny.
The focal point, however, was the Chantilly lace that featured heavily. Ornate golden baroque lace detailed the majority of the collection, fighting for attention against the softness of the cream maxis that were fitted around the waist harsh black belts.
Giving a nod to the Mexican tradition, a few of the models were crowned with a Dior take on the sombrero mixing together the heritage of the French fashion house with the power of the ecaramuzas – not even the torrential rain could get in the way.
With long-standing creative director Christopher Bailey leaving the British institution at the end of the last season, his replacement, Givenchy’s guy Ricardo Tisci decidedly curated the spring 2019 pre-collection.
Featuring eight couples intertwined, the collection encapsulates classic Burberry. The British brands signature check print has been appropriated by tastemakers for a classic take on a cape design. Beige and black features heavily, however the material in question took a different form each time; consequently, each look is different.
The iconic Burberry trench opens, while it gets reinvented throughout the collection in a checked material, then an earthy brown suede to its quilted green sibling. Similarly, there is a sprinkle of pleats seemingly sweeping across the knees of models adding to the classicism.
With only eight images of the collection present, fans of the fashion giant have only been shown a slither of what to expect from Tisco and his first show, coming on the 17th September 2018.
In light of the last few season’s obsession with athleisurewear, it seems that smart wear is on the rise again with no exception at Prada. Styles ranging from boxy cropped jackets, to skirt suits and tailored trousers ruled supreme topped with a signature punchy Prada print.
Brightly coloured leather played a huge role in this collection, being used on everything – long coats, cami tops and miniskirts to name a few. Central to the success of the material was the layering upon which it sat. Geometric patterns in bright colours such as mustard and cornflower blue gave a shout out to the retro wallpaper once seen in houses across the 70s.
The highlight, however, was the frilled skirt. Looking like the long-lost sister of the floaty tea dress, the Prada version is boxier and belted with the addition of a pleated frill on one hem. Select one in a bold shade such as sherbet orange and sit back and relax as it sees you through the transitional months.
Never one to do things simply, Karl Lagerfeld put the “Cruise” into Chanel Cruise 2019. You don’t have to be a sailor to wear one of the French fashion house’s opening numbers featuring the striped print and double-breasted blazers usually seen on sailors.
Chanel’s signature tweed came in a boxier form this season, complimented by a soft colour palette of cornflower blue, dove grey and white. Capped shoulders were exaggerated in size with the same being said for long-sleeves which ballooned in proportion.
As the show went on, designs seemed to become slimmer around the waist as though the feminine identity of the brand was remembered. However, a modern touch was given to an otherwise age-old design, with midriffs peeking in-between hems.
The playful nature of the candy-striped pieces, millennial pink (is there any other shade?) and soft crew neck sweaters emblazoned with the brand’s logo gave the collection modernity and a pointed direction that lacked in previous seasons.
A younger, more youthful approach for Chanel this season
In true French fashion, each of Lagerfeld’s models was finished with a cream beret. Voila!