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Damir Doma
Damir Doma is principally a menswear designer, and this direction infuses his womenswear with a minimal androgyny that renders the wearer almost genderless. Sleek lines, created by elongated layered lengths and the minimising of details such as collars and closures, are neither masculine nor feminine.
The look: Androgynous minimalism
Silhouette: Elongated and linear
Key items: Tunic-length shirts and tops were layered over cycling shorts, maxiskirts or super-wide fluid pants, while bomber jackets and tailored blazers featured cutaway collars and revers. Unstructured outerwear, including a tab-shouldered jacket and a soft wrap coat, softened the minimal linear silhouettes, as did the cloud-like Mongolian lamb jackets. Capes were revisited items - arriving either as a zip-up jacket or snug-fitting knitted top - while skirts or dresses often featured a tabard-like strip panel at the front, acting as a graphic high-low detail
Colour: Graphic black and white punctuated with bronze, peach, chestnut brown, old gold and steel blue Fabric & knit: Mongolian lamb, dense wools, leather, suede, hammered satin, silk, crepe, lamé, textured open-mesh knit
Print & pattern: Speckled/flecked
Details & trims: Zip pockets, long tabard-like strips as skirt panels, short turtlenecks, single-buttoned high necks
Footwear: Triple-sole creeper shoes and thigh-high boots
Accessories: Snakeskin belts with silver buckle, long cuffs in embossed gold, copper or silver metal
Anne Valérie Hash
Soft romantic drapes and delicate blouson shapes are AVH hallmarks, and for winter the designer fuses them with a gentle masculinity through unstructured sleeveless jackets, slouch-fit peg pants and a palette of subtly muted tones.
The look: Soft androgyny
Silhouette: Slouchy tapered layers
Key items: Loose-fitting peg pants worn with softly draped silk blouses and slouchy, unstructured sleeveless jackets; blouson drapey jumpsuits with a casual V-neckline, signature ruffled miniskirts with paper-bag waist and raw-edged layers; short or cropped jackets that are boxy and collarless
Colour: Muted tones of khaki, mocha, powder blue, skin pink, old gold and pale misty grey, with black and navy
Fabric & knit: Silk, silk chiffon, wool, faux shearling, short-haired fur, metallic linen weave, cable knit in marled yarn
Print & pattern: Dense scratch print, shattered multicolour abstract
Details & trims: Wrapped and draped waist/crotch detail, paper-bag waists, layered ruffles, raw edges, puckered gathers, twisted drapes
Footwear: Extra-thick platform ankle boots with a buckled criss-cross strap
Accessories: Rope belts
Dries Van Noten
Dries Van Noten works colour and print with a painterly hand, effortlessly combining seemingly random patterns and fabrics into a seamlessly beautiful whole. For autumn/winter 2011/12 he melded diverse fragments of influences together - gilded Japonesque lacquer motifs, black and white op art, constructivist geometrics and slabs of bold colour - which on paper shouldn’t have worked, but in reality created a collection of instantly desirable pieces.
The look: A melting pot of vintages and eras
Silhouette: Elongated masculine/feminine
Key items: Mannish influences were played out in softly structured and overscaled tailoring, pleat-front pants and strict, almost Edwardiana DB coats, all the perfect contradiction to fluid below-knee skirts, narrow but easy belted wrap coats, and the collection’s multitude of beautifully simple collaged pieced dresses, which came with a 30s feel. There was a modern twist too in the oversized colour-blocked cable knits, and a series of mixed pattern columnar silhouettes that brought a new definition to eveningwear
Colour: Black and white led the field, with quiet blocks of grey acting as a canvas to the collection’s rich cognac and caramel browns, vivid pumpkin, Kelly green, and sapphire or cornflower blues punctuated with antiqued gold
Fabric & knit: Loosely woven tweeds shot with vivid colour sat side by side with monochrome Donegals, black curly lamb, mixed furs, vividly patterned satins, jet beading, fluid crepes, and gilded brocades or jacquards, all worked as separate garments or collaged into constructivist shards within one silhouette
Print & pattern: Japonesque bonsai and floral patterns, constructivist linear geometrics, vivid spatter prints, swirling op-art all-overs, tonal morphing motifs
Details & trims: Fur facings, mismatched piecing
Footwear: Ankle boots, which came in solid colours, in snakeskin or in bright colour-blocked effectsAccessories: Patterned socks, narrow leather belts, amber-coloured deep cuff bangles, clutch bags, colour-blocked totes
Felipe Oliveira Baptista
A vaguely 20s look from Felipe Oliveira Baptista, who cited Nancy Cunard among his many influences this season. The designer tapped into several of next winter’s key trends, with his dropped-waist silhouettes, mannish trouser shapes and fur gilets.
The look: 20s hybrids
Silhouette: Short versus long
Key items: Long, lean coats with funnel necklines exaggerating the narrow silhouette; masculine wide pants and side-split knee-length skirts teamed with sheer shirts etched with vivid beaded trims; full fox gilets and sleeves on reed-thin hip-belted coats contrasted with the more sporty appeal of soft elongated blousons and tunic knits, paired with narrow cuffed pants. For evening, short shift dresses with bright sequined trims
Colour: A brooding palette of black, with bright accents such as poppy, jade, ochre and bright turquoiseFabric & knit: Luxe wools, leather, silk chiffon, velvet, sequins, fox furs, jersey, mohair knits
Details & trims: Sequinned trims, beaded collars and cuffs on sheer blouses, tulle trims on tailoring
Footwear: Buckle-side high-heeled ankle boots
Accessories: Scarves, fur hats
Rochas
According to his press release, Marco Zanini was on a quest to determine the meaning of chic for his autumn/winter Rochas collection. It turned out to be a quest without an answer, as chic is surely in the eye of the beholder. For many it could be Coco Chanel’s fluid but feminine androgyny, Jackie Kennedy’s 60s flair, Audrey Hepburn’s timeless gamine quality, but for Zanini, chic turned out to mean a procession of innocuous tailoring, neat day dresses and unadorned satin eveningwear.
The look: Unchic chic
Silhouette: Softly structured
Key items: The tailored SB was at the core of this collection, worked in solids, print or as part of an opening mid-blue genderless pantsuit. Subtle striped or colour-blocked knits came teamed with A-line skirts, cropped pants and a floor-sweeping maxi, while dress shapes were worked to the knee as basic shift shapes or A-lines with zipped fronts. Boxy coats had a trapeze-line unstructured appeal, paired with narrow leggings and toeless mules. The collection moved into a lighter vein, which had a certain chic appeal, with brushed mohair coats and lightly ruffled silk dresses and skirts, morphing into columnar satin eveningwear
Colour: A palette of intense winter darks centred around black, ink and aubergine, undercut with midtone blue, soft peach and rose, grey and white
Fabric & knit: Brushed mohair, satin, cashmere, moiré silk. Fine-gauge knits
Print & pattern: A tonal rose jacquard, an exaggerated cheetah print, a childlike Bucol print in brights
Details & trims: Zipped fronts on dresses
Footwear: Toeless winter mules, high-cut pumps with an elongated toe
Accessories: Long gloves, astrakhan hats, crochet bonnets
Gareth Pugh
It doesn’t seem so long since Gareth Pugh was the adored dark prince of London’s club scene, his shows the must-have ticket for a thousand fashion wannabes at LFW. That was before he took the plunge and his signature goth looks on to the broader fashion stage, where his particular brand of monastic-meets-dark-forces womenswear has attained a new level of professionalism, starting to appeal to real fashionistas worldwide.
The look: Theatrical religious iconography
Silhouette: Covered-up, sharp-shouldered and A-line
Key items: There is a certain Alexander McQueen-ish theatricality in a Gareth Pugh collection, full of sharp angles and hourglass A-line shaping, so it was an unexpected departure to see his more fluid semi-sheer wrap dresses and wide-cut pants in among the customary leather-sleeved body-con sheaths, taut leather breastplates and zipped jackets with their flaying asymmetric hemlines. Appliquéd leather crosses added to the religious feel, a look mirrored in the cope-like capes. Sculpted neoprene shapes were broken into angular appliquéd shards before the tempo changed and a softer new look came into focus, with sinuous columnar dresses spliced with a tabard panel or colour-blocking
Colour: Black, Yves Klein blue, gold
Fabric & knit: Leather, jersey, sheers, neoprene, wool, suede, fur
Details & trims: Appliquéd crosses, sharp-angled shoulderlines, asymmetric hems
Footwear: High ridged leather boots
Accessories: Gauntlets
Rue du Mail
Martine Sitbon is one of the stalwarts of the Paris schedule, now showing under her Rue du Mail label rather than her eponymous name. Like Sonia Rykiel, she can always be relied on to bring a flirtatious touch into the season, with her “je ne sais quoi” brand of feminine dresses and knits.
The look: 60s meets 20s, by way of Sylvie Vartan
Silhouette: Below-the-knee and softly unstructured
Key items: Dresses were a strong suit, simple below-knee shapes acting as a canvas for print and pattern, or worked as flirty knitted silhouettes. There were serious pencil skirts teamed with knitted shell tops, and a play on the Chanel cardigan jacket, here worked in bold blocks of satin. Neat-fit jackets featured the season’s trend for contrasting fur sleeves, and softly tailored pantsuits came in satin and velvet black-on-black effects. Cutouts and devoré patterns were used to effect on cap sleeves, yokes or bib-fronts on dresses, and for evening, semi-sheer shifts were etched with narrow pin tucks and applied rosettes
Colour: Black and white, bright orange, purple, bougainvillea pink
Fabric & knit: Jacquards, mohair knits, velvet devoré, duchesse satin, velvet, sheers, lamé
Print & pattern: Stylised Art Nouveau patterns as all-overs or cutouts and burn-outs, Constructivist appliqués in black and white
Details & trims: Pintucks, applied self floral trims
Footwear: Low-cut front ankle boots with a high heel and cutaway platform
Accessories: Fur scarves, black or white hosiery
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