GIF: Viktor & Rolf, Acne, Vivienne Westwood, s/s 2015 - IMAXTREE
In a season in which almost every designer seems to be playing it safe,
Viktor & Rolf moved out of their comfort zone to take on the realm of
sportswear. Never ones to tackle a trend head-on, they'd conjured up a
hybrid of workout gear (an idea reinforced by various renditions of Let's
Get Physical playing throughout) and the romance of flowers.
Cycling shorts and leggings were paired with flouncy tops covered digital floral
prints that had a Gilbert and George flavour, white cotton pieces were
gathered into voluminous shapes by thick elastic, and racer-back vests
were paired with chandelier miniskirts.
Compared to some of their extravagantly surreal shows - this, after all, is the duo that sent their
models down the runway decked out in lighting rigs - it was a very sedate
affair, but somehow, in their hands, sportswear seemed surprising.
IMAGE: Viktor & Rolf, Acne, Vivienne Westwood, s/s 2015 - IMAXTREE
Over at Acne, Jonny Johansson had turned his vision of the perfect
youthful, luxury capsule wardrobe into a reality. There was an outfit for
every occasion: trouser suits and portfolio cases (note to self: add to
shopping list) and separates covered in off-kilter, fruity - in both
senses of the word - prints for work, floaty cocktail dresses in citrus
shades for play and even some swimwear and a towelling wrap dress. He really had thought of everything.
The outerwear was particularly standout - in particular, the tan leather mac and the blush-pink trench.
Occasionally, it was hard to imagine exactly whose wardrobe this was but,
for the most part, it trod the line between wearable and the clever,
contemporary design that is Acne's calling card.
In the world of Vivienne Westwood, a new collection offers up a fresh
platform from which to make political statements; the latest was entitled
End Ecocide and came with a call to action to save the planet. The looks
ran the gamut from headline grabbing to wearable, via tried-and-tested
She'd been rifling through the history books and put
her spin on Victorian silhouettes, from frock coats and brocade dresses
to little cotton caps which, combined with smeared, doll-like make-up,
had an unsettling effect. There were rich, wallpaper-like brocades and
prints of opulent interiors, too, interspersed with decidedly modern
slogans and nude pieces printed with fig-leaves in the appropriate
places; bikinis and vests that set camera phones snapping. Just the
ticket to keep die-hard Westwood fans happy.