The Paris Olympic Games clearly inspired this season’s couture shows. But for all the sports cliches one could apply to this season, the one that best describes the most successful collections is “go big or go home.” Drama, theatrics, capes, big skirts — rather than being excessive, those who took a maximalist approach made the most impact.
Thom Browne is well known for over-the-top runway shows, but in his second official couture collection the designer (who opened a boutique in Palm Beach last November) presented some truly showstopping tailoring. The show paid homage to the upcoming games, kicking off with models playing tug-of-war, and concluding with three taking spots on a podium wearing gold, silver, and bronze looks. Ever one to put a cheeky spin on a theme, Browne nodded to the games by replacing the platforms of shoes with cleats, and embroidery depicting athletes at play.
It’s not the first time Browne has crafted a high-fashion sports parody, but it is certainly one of his most elegant efforts. The deconstruction of suits and blending of tailoring styles feels more refined than ever—his work has never more looked like wearable art.
Another house known for pushing the limits of theatricality is Schiaparelli, which has been a gem of surrealism since its founding. This season, Creative Director Daniel Roseberry strictly took reference from books (no internet searches here!), to gain inspiration from his fashion forebears. Thank goodness he did — after a few seasons of impressive (if gimmicky) stunts, the Schiaparelli team was able to let their craftsmanship stand in the spotlight. It turns out if you steep yourself in the classics, you’ll create something timeless yourself.
For example, Roseberry took an opportunity to re-envision one of his favorite dresses of all time: Charles James’s famed “Butterfly” gown. Keeping the basic structure of the dress (which features an elaborate tulle bustle), the designer modernized the bodice by covering it with enamel pieces, that were laid by hand. The result is both sleek and showy, retaining all the impact of James’s ballgown, with a dark edge.
Meanwhile, Chanel showed how drama could be done on a more reasonable scale. This was the first collection since the departure of Creative Director Virginie Viard earlier this month. The designer had been at the helm of the brand for the past five years, but previously acted as the right-hand to the late Karl Lagerfeld for decades. What, then, does the house look like without her?
It turns out, rather similar. Chanel’s house codes (the aesthetics and design elements that are key to the brand) are so well defined that it’s easy to experiment without straying from the norm. That said, there were some subtle shifts in direction. Under Viard, ensembles skewed in a youthful direction that often felt incongruous with the fabric and level of craftsmanship the house is known for. This season, Chanel’s iconic tweed suits felt more ageless—and timeless—than they have in years. The collection, which was a tribute to the Palais Garnier in Paris, featured opulent embellishments such as embroidered flowers, feathers, tassels, and beads. The silhouettes were a strong point, with voluminous capes, shoulders, and skirts being used to create intrigue.
