Flowers are definitely one of the most predictable themes in fashion. Decade after decade we have seen floral prints on various runways, while more original designers like Roberto Capucci and, more recently, John Galliano for Christian Dior, reused the theme to wrap up women in sculptural fabric petals.
The botanical and floral theme came back also in New York, but with a few twists.
Venus flytraps provided Wayne Lee with the basic inspiration for a sporty collection with a botanical edge.
Skirts had petal shapes, ribbed details on viscose tops called to mind the texture of leaves, tongues of fabrics hung from dresses and tops like some floaty and mysterious undergrowth, while scuba diving-like trouser suits and leather corsets matched with safari shirts and leather shorts provided the perfect look for the urban man-eating femme fatale and were probably metaphorical references to carnivorous plants.
But while at Wayne’s colours were muted and neutral, Chris Benz remained faithful to his passion for bright nuances.
Floral skirts, jackets, tops and cigarette pants in shades of orange, red and electric blue or with prevailing splashes of yellow appeared here and there throughout the collection matched with platform shoes designed by Alejandro Ingelmo.
The theme worked better though when it was limited to one floral garment in one look.
Rather than mixing traditional Korean designs with botanical plates, Carolina Herrera should have maybe stuck with one inspiration and made sure she used it in a more subtle way.
The Far East seemed to inspire straw hats and origami-like elements such as the flat obi belt bows and the neat folds decorating the sleeves and shirts; prints of flowers accompanied by their names and origins appeared instead on trousers, skirts and dresses.
In some cases the flowers were appliquéd on judo jacket-like dresses (note: obi-like belts and judo jackets will become a trend come next Spring – there have been quite a few on the New York runways already), creating a sort of 3-D effect or an entire page of a botanic catalogue was printed on a sumptuous evening gown.
The best designs were probably the ones in which the inspiration wasn’t too literal, though, and flowers were used as embroideries or employed to create original shapes.
Fabric swirls and petals covered quite a few of Monique Lhuillier’s designs, though the best ones were the evening dresses with hand-painted magnolias and the gowns in which nude corsets contrasted with skirts covered in bright flowers, like hundreds of appliquéd red poppies.
Marios Schwab went back to the classic 70s Halston silhouettes in his second collection to try and rejuvenate the iconic fashion house.
There weren't extremely big steps forward, but the designer also used here and there a sort of muted orchid motif in his sequinned designs.
I can not deny the fact that I admire Marc Jacobs for the way he cleverly pilfers inspirations here and there, chops them and mixes them in a big cauldron and then gets the unanimous approval of the fashion media.
It's undeniable, Jacobs is the Fatboy Slim of the fashion industry. Take for example the Spring/Summer 2011 collection: while thinking about it, Jacobs must have seen the “Idealized History of Fashion” exhibition at Paris' Musée des Arts Décoratifs, an event that somehow reassesses the 70s, then he mixed it with further
inspirations such as New York babes, Studio54, Yves Saint Laurent (actually featured in the Musée des Arts Décoratifs exhibition), Missoni zigzagging motifs (you wonder if Missoni took this as a homage or as being ripped off…) and a few 70s film icons such as Jodie Foster in Taxi Driver (by the way, can costume designer Ruth Morley get a credit for this collection?) .
Working like the talented scavenger he is, Jacobs mainly focused on coral, peach, pink, terracotta, ochre, lilac and mauve shades, adding a few touches of gold in the glittery platform shoes, including in his collection satin high-waisted trousers and shorts, billowing liquid silk dresses and jumpsuits with slits revealing the models' pants and knit dresses.
There were occasional references to the Guy Bourdin palette, and glamour was definitely high on
the list, also thanks to massive wide brimmed straw hats, 70shairstyles and
heavy make up.
The flower theme was mainly used for the accessories, with models wearing oversized fabric or leather flowers in the hair, around their necks, on their
shoulders or around their waists.
With so many looks and inspirations, Jacobs can definitely be considered like the best cocaine rush the contemporary fashion industry will ever get: he hits, confuses, thrills and causes temporary euphoria. But, you're warned, the comedown may leave you desperately empty.
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This is because, they can never go wrong with flowers and who amongst us doesn’t like flowers. The 6th picture is so fabulous!