Our re-cap of Cruise 2019
While we fend off the cold in beanies and hoodies, Cruise 2019 collections have luxuriously swept down the runways and into our daydreams.
This season trends were all about the 80s, clashing patterns and textiles together (somewhat reminiscent of grandma’s couch but chic), accentuated shoulders, masculine versus feminine and leather.
Resort may be a filler season for the rich, but why not enjoy this wonderfully bourgeois spectacle.
Situated at the Cote d’Azur in Monaco, the clothes pay homage to the aesthetic of a minimalist eccentric, if that person even exists.
Nicolas Ghesquiere created a quirky cluster of fabrics, feathers, lace, silk, and tweed structured together in often bazaar, but still cohesive ways.
He gave non-subtle nods to 80s loose silhouettes that flirt between being ultra feminine and masculine, strong shoulders and offbeat draping techniques.
To say Karl Lagerfeld is a fan of theatrics is too nonchalant to bother pointing out (I realise ironically, I just did).
The crisp white, loose, straight lined pants that opened the show were a delectable start, to a Parisian sailor inspired aesthetic that ran throughout the show.
Other highlights included the white Mary Jane’s, all of the cropped jackets and the tweed cigarette pants.
When you look at the collection the image that comes to mind is sipping a Martini, at your private villa, overlooking the serene Positano Sea –And I think that’s Karl’s message, for lack of better expression.
Miuccia Prada has always been a champion for the practical woman, who still looks as fantastic as she is free to go about her work.
Prada made an offbeat decision to juxtapose funky patterns with classic earth tones and black, perfectly capturing fashions fascination with ugly fashion.
The collection is inspired by 90s Prada, including beautifully tailored coats, mini skirts that sit on the hip and sheer panels.
One interesting look was her take on fleece pullovers, but dare I say Prada was inspired by Katmandu? However, it kind of works, a sort of high fashion takes on hiking attire.
In a world so consumed with the virtual world, this collection aspires to bring us back to reality and into a haze of 90s Prada nostalgia.
As the rain poured down and the dresses floated along the runway, the glistening of the raindrops accentuated the beauty of Dior.
The looks teetered between masculine and feminine shapes, making the clothing practical but also soft and elegant, this is perfectly captured by Grazia’s decision to pair sneakers with evening gowns cut just above the ankle.
By including Escaramuza Rodeo Riders on the Runway, Dior has been culturally connective, a wise and crucial decision for the brand that could have easily faced claims of cultural appropriation – something Head Designer Maria Grazia has been accused of before.
Behind every look was the message that women can conquer typically male-dominated jobs, without compensating their femininity and power.
Alessandro Michele has changed the tone of Gucci into a dark, eerie and exceptionally theatric fashion house.
He has even captured the zeitgeist of our times by embracing gender fluidity, bringing sub-cultures to the mainstream and monopolising on logos.
This collection showcased at the Alyscamps burial grounds, a perfect setting for the models as they glided down the runway reminiscent of a ghost passing a cemetery.
The collection featured tweed, lace, flamingo pinks, zesty greens, velvet and stunning religious allusions.
The show is about embracing the luxury of darkness and perfectly captures the melodrama of the youth that follow Gucci.
Words: Faye Couros
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