Trends: Spring/Summer 2011

Fashion seems to have finally recovered this season after a period of cautious creativity. Between the return of the big fashion houses, the riot of saturated colors by Jil Sander et al, the multiple references to the upbeat 70s, the bucolic joy of the D&G girls, and the innovative propositions by Ghesquière, the collections let loose a joyful, contagious and enthusiastic energy.

Fashion Stripped Down

Initiated by Phoebe Philo back when she began at Céline, this new minimalism seems prepared to stay. The designers have understood that women want clean lines. The Helmut Lang heritage, far from flourishes and close to the perfect cut, continued to make new disciples, giving birth to clean, incisive, elemental and inevitable collections.

• At 3.1 Phillip Lim, the modern looks may have smelled like minimalism, but they stopped short of absolute reformism. The essence of the wardrobe was clearly bathed in simplicity, but the designer allowed for some sophistication via his intelligent use of cuts and colors. The Phillip Lim collection also benefited from a successful mix between strictness and extravagance, resulting in a pretty combination between minimalism and summer fashion.
• Under the direction of Phoebe Philo, Céline continued with its new-preppy allure honoring the Helmut Lang style. With her loans taken from the men's' wardrobe, her basics ingeniously transformed by a pair of scissors, and her ultra chic nonchalant sportswear, Philo was right on the mark. The Céline message - sober, soft and uncompromising - succeeded once again in winning over its public.
• Less audacious than usual, Stella McCartney focused on a simplicity that painfully lacked in energy. While in step with the times, the almost-Mormon look of some of her pieces - e.g., this chambray dress - pulled the desirability of the whole collection down. It would seem that wanting too much simplicity led her to miss the mark altogether.

In order to keep your summer looks from becoming completely bland, we prefer the Céline version of minimalism -- thanks to the special attention paid to the cut, it is the only one that is interesting.

China Girl

The center of world economy is inexorably shifting towards Asia; the luxury groups are increasingly considering China as their new golden market; and the west is licking its post-crisis wounds. In this context, the latest collections sent a clear message (with varying degrees of subtlety) of welcome to their new Asian consumer clientele.

• At Paul Smith, the floral prints looked like they were taken from the kimonos of another era. On the other hand, the combishort cut - very "now" - brought the kimono-like silk, bias and graphics into the 21st century. Paul Smith thus rejected taking the image too seriously in favor of a more modern look.
• As for Marc Jacobs, he seemed to go for caricature, even taking a certain pleasure in doing so. He presented a 1920s Shanghai "China Girl" sans hang-ups on the Louis Vuitton catwalks. The Mao collars, embroidered silks, and blatant sex appeal may win over the western women, but whether they will be so popular with the Asian clients (who might find in them a big step backwards) is less clear.
• Who better than Dries Van Noten (who has always had exotic influences in his work) could have given this "China power" trend the perfect European touch? By transforming the kimono into a full-cut shirt-dress painted like a Chinese engraving, the Belgian designer subtly weaves a link between the different cultures, without stepping on anyone's toes.

In the end, we prefer leaving aside literal interpretations in favor of the designs that illustrate with finesse the mid-point between the two aesthetics.

Tomboy

Effective and always in fashion ever since Yves Saint Laurent dressed his women in smoking jackets, the feminine/masculine style makes regular comebacks, celebrating a kind of sexual equality on the catwalks. This season, the androgynous look with its ambiguous charm was by turns subtle, literal, or rock-n-roll.

• Under the careful regard of Nicolas Ghesquière, punk made its big comeback into the top ten trends list. Wearing studded Creepers and adding a rebel twist to the smoking jacket, the Balenciaga girls were all punk couture. With their deceptively slovenly appearance, they brought back a sophisticated androgyny, between remixed rockabilly and techno couture.
• According to the last Céline show, slipping into men's clothing is the best way to win in comfort and style. Philo borrowed from the men's closet their wide cut pants and immaculate shirtfronts, rendering them sublime with transparent fabrics and conceptual details.
• At Paul Smith, the woman on the catwalk was 99% tomboy. Outside of their pumps, the Elvis-hairstyled models threw away their girly things in favor of testosterone charged finery - and were hugely successful. White shirts with rolled sleeves and pleated pants have rarely been so desirable.

The boyish style was intelligently handled by these houses, and the fashionistas have only to choose among them when deciding to give their wardrobe a touch of masculinity.

70s Optimism

The fashion world, seeking something positive to bring us out of the stylistic gloom of the last seasons, jumped with relish once again into the 70s, filling up on psychedelic endorphins.

• No stranger to the genre, Anna Sui let herself loose, creating looks that Woodstock-goers would have surely ripped off the hangers. Round glasses, crocheted shorts, prewashed denim jackets and oversized bags made up the ideal panoply for those who want to give themselves over body and soul to an artificially induced fashion paradise.
• At Just Cavalli, the same cliché was summoned, but with a more hippie jet-set feel. The fans of the 70s will surely find it difficult to resist the Native American patchworks, the denim floppy hats and the agate belts created by Roberto Cavalli.
• Finally, only Marc Jacobs succeeded in keeping some distance from the ideal image of a 100% happy decade. Taking his ideas from Jody Foster's Taxi Driver wardrobe and paying his respects to Yves Saint Laurent's Rive Gauche beginnings, Jacobs reinvented an infinitely feminine wardrobe, imbued with the aura of fashion's pre-1980s golden hour.

All that remains is to review Scorcese's film in order to soak up the diaphanous allure of the young Iris.

All-White vs. Florescent Addiction

White may have always been a summer favorite, but this season it will make a veritable takeover bid on all spring/summer looks. White was represented in all the styles -virginal monochrome has never been so popular. From Alexander Wang sportswear to Dolce Gabbana romanticism to Calvin Klein minimalism, head-to-toe white was everywhere.

• At Chloé, Hannah MacGibbon devoted herself to the blank white page with freshness and simplicity. Her looks may not have been extraordinary nor were they even really remarkable, but they will confer a clean and risk-free look to those who wear them.

Parallel to this clinical white trend was a wave of blinding colors that rolled over the catwalks, as if the designers had decided to exchange their Pantone felt pens for a set of Stabilo highlighters in order to color in their new wardrobes. The florescent colors that began their comeback this season did not target the younger generation, but more the preppy 30-somethings, hoping to convert them to their happy, deliberately chic brightness.

• Christopher Kane used fluorescents head-to toe on suits inspired by Princess Margaret herself. By adding this touch of unexpected, excellent punk folly to aristocratic, classic, slightly old-fashioned ensembles, he transformed florescence into a new form in just a few catwalk entrances.

Pink vs. Orange

Light, Barbie, pastel or even deliberately spicy, pink is one of the inevitable colors of the season for those who like monochrome or color block looks. Variations on ultra strong materials and mixes with more faded tints created powder-colored monochromes that were softly bourgeois. Whether soft or strong, pink has matured, putting behind it little girl wardrobes in favor of mother's dressing room, with enough spirit to be very chic, almost glamorous.

• At Sonia Rykiel, cotton candy pink mixed brilliantly with an oversized man's suit - not too much, not too little, it proved to be ideal for feminizing this tomboy look. Once matched with a toned down cappuccino shirt, this pink went as far as becoming a perfectly spring-like, intensely fresh and chic tint.

Orange, being more aggressive and less accessible, cannibalized the colors of the season, imposing its uncompromising brightness on a number of catwalks. More accustomed to service uniforms and Halloween than to prêt-a-porter collections, this carrot color will have to come up with a veritable plan of seduction if it wants to come down to street level. As the designers did not try to transform pumpkin orange into salmon, the fashionistas wanting to honor this "it" color will be obliged to go for 100% orange juice.

• At Miuccia Prada, orange was worn with panache and self-confidence. No attempts were made to tone it down, but rather to boost its energetic nature by wearing it with other just as saturated tints, e.g., violet.

Simultaneously invigorating and destabilizing, orange should be allowed to soak into more classical pieces, letting its unusual vitality provide a bit of needed extravagance. As for pink, it is to be adopted without question.

Floral Bouquets

The impulsive liberty prints have moved over for floral graphics having little to do with the Laura Ashley-esque flowerets. A wave of opulent flowers swept away the microcosm-sized blossoms in an attempt to intoxicate summer lovers with their perfume.

• At Erdem, the folkloric references were close at hand. Headband braids and incandescent petals on the clothes created a very Slavic effect. Moralioglu, with finesse and poetry, succeeded in rendering these bucolic creations subtly delicate. Using differently sized flowers, he succeeded in creating a tapestry effect, giving his floral prints a lightness worthy of Monet's "The Poppy Field."
• Under the mischievous direction of the D&G duo, the maxi flower made no attempt to be discreet or evanescent; rather, it wanted to participate in the huge euphoric celebration that Stefano Gabbana and Domenico Dolce decided to give in honor of the arrival of spring. Calling to mind an image of Snow White in a fashion wonderland, the looks followed one another with a certain naiveté stamped with sex appeal that should have no problems winning over the magazines as well as next summer's golden youth.
• At Chanel, the arrival of the oversized flower gave Karl Lagerfeld the opportunity to celebrate the rue Cambon camellia. However, presented in head-to-toe darker tints on rock/ethnic/chic ensembles, they lacked in the freshness needed to fit into next summer's wardrobe.

The flowerets made place for floral compositions invariably showcasing the petunia over the violet.

Animal Land

As if weary of the rigor of the latest fashion weeks, some houses deliberately injected massive doses of fantasy into their collections, transforming them into playing fields for an imaginary menagerie. This trend, supported by the en vogue houses, seems set on making a place for animal prints.

• At Giles, childlike fantasy and sexy clothes have always worked together. Unsurprisingly, Giles Deacon has become infatuated with the animal trend of the moment. Using cartoon-like animals on a florescent pullover worn with a transparent micro skirt, the English designer succeeds in rendering the look so attractive that we overlook the completely juvenile nature of the graphics used.
• At Marc Jacobs and Miu Miu, the designs were more classical. The Louis Vuitton tunic hosted a zebra seemingly conceived by an excellent animal painter, whereas the Miuccia Prada swans made reference to the golden hour of Art Deco. It seemed that the Jacobs and Prada fashion gods wished to convince us of the seriousness of their sudden infatuation with the animal world.

Somewhat risky, this trend is presumably reserved for the more fashion audacious. However, anyone can try it (without financial risk) by simply pulling out an old panda or galloping- horse t-shirt and wearing it with either a slightly bourgeois look or a casual-chic ensemble.

Stripes Addiction

The success of the striped t-shirt (based on the French navy uniform) seems to have inspired the designers to take this famous stripe that the fashionistas love so much a bit further. For summer 2011, the vertical and horizontal stripes were the object of special attention aimed at renewing the genre.

• By deciding to make stripes one of the pivotal points of her last spring/summer collection, Miuccia Prada did not do the other labels any favors-because when this Italian designer becomes infatuated with a theme, he colleagues often have difficulty surpassing her in creativity. Mixing stripes, rococo graphics and a 1920s atmosphere, her work more than anyone else's boosted the aura of the stripe.
• At Jil Sander, the oversized format of the naval stripe took us towards more conceptual horizons, all the while keeping its distance from the cliché of the "marinière."
• As for Marc Jacobs, he presented upbeat, trendy stripes without hang-ups in the show for his second line, Marc By Marc Jacobs.

This summer, although there is no need to completely reject our striped t-shirts, less obvious propositions that give stripes an unexpected twist will be preferred. However, careful attention should be paid to the dangerous optical effects (widening) that stripes can cause.

Skirts

The mid-calf skirt takes more from the long ballerina tutu than the difficult-to-wear retro Mad Men model. Cut from flowing, sometimes transparent materials in pastel or powdered tints, these skirts with their romantic charm and 70s fullness are as feminine as they come.

• When Hannah Mac Gibbon transposed the Opera de Paris ballerina costume into the heart of her collection, she unfortunately did not develop them into more stylized ensembles, leaving them looking more like just cut-and-paste. In other words, even if the leotard/tulle skirt/ballet flats look has some charm, Chloé's version is too literal to be taken seriously.
• The same skirt was reinterpreted at Derek Lam with pleats that would have pleased Issey Miyake. Worked into a head-to-toe white look with discreet transparencies, the overall effect was Zen and sporty, with unlimited elegance.
• With their daring color associations, the flowing ensembles at Fendi celebrated the bohemian, upbeat romanticism of the 70s. By matching a mandarin orange shirt belted with a touch of red, the calf-length skirt's soft beige color came alive.

The Chloé transparencies may be limited to the red carpets, but the mid length flowing skirt, pleated or colored, can be consumed without moderation as soon as spring arrives.

Tomboy Shirts

Given the boyish allure that impregnated a number of "it" looks of the season, it was no surprise to see a masculine wardrobe basic revisited in a myriad of forms: the man's sensible white shirt became the pretext for multiple stylistic interpretations.

• At Nicolas Ghesquière (Balenciaga), the shirt was transformed into a bad girl look. Metallic pointed collars (borrowed from the punk movement) and chic ergonomics (inherent in the smoking jacket shirt) transformed it into a hybrid model with rebel sophistication.
• For Dries Van Noten, the classicism of the white shirt took on an oversized format, evolving towards an elegant, nonchalant, effortless style. The designer transformed it into a simple shirt-dress lifted out of the norm by matching it with a shimmering skirt, composing one of the most convincing new-chic combinations.
• The American Ralph Lauren also showed an XXL white shirt, but more in a Wild Wild West spirit. As a white cotton dress, this shirtfront dress was given the Native American treatment via a fringed vest and Sioux jewelry.

Rock chic, classical or openly bohemian, the white shirt of summer 2011 excels in all categories. This timeless piece is to worn, wisely accessorized, in order to create clear, well-composed looks.

Oversized Pants

We are not announcing the end of the slim pant -- this has irrevocably integrated itself into the family of fashion basics. However, the new season may very well coincide with the return of a pant much more respectful of our comfort and blood circulation.

• At Paul Smith, wide, masculine pants invaded the feminine look. In order to increase its chic appeal, they were shortened by a good 10 centimeters, giving those who wear them a more flirtatious allure with a delicately tomboy elegance. Topped with a transparent pullover half-belted and worn with a pair of derbies, the Paul Smith wide pant can be easily incorporated for the long run.
• Extra flowing and just resting on the hips, the man's pant conceived by Phoebe Philo looked so comfortable that we immediately wanted to adopt it. Their sportswear feel prevented them from making the Céline look too serious by adding a good dose of nonchalance, ideal for balancing the rigor of the sexy leather top.
• More familiar with noble fabrics than with denim, Dries Van Noten nevertheless ended up by succumbing to the casual charm of the jean. For next summer, he cut large pants, sometimes raw, sometimes white, out of denim that he then rendered chic with the addition of mini pockets and shimmering jackets.

If forced to choose one, we would definitely select the Dries Van Noten pant: wide, long and slightly high-waisted, they seem comfortable and have countless stylistic possibilities. (Note: the Paul Smith pant, cut above the ankle, is to be reserved for the taller ones among us.)

Kimono Jackets

Asian details may be popular this season, but mixing them into a western wardrobe with style is not a given. Simply transforming into a Marc Jacobs China Girl for a night in Tokyo or adopting a Haider Ackermann geisha look is not sufficient. However, when prêt-a-porter takes over, erasing some of the folklore of certain pieces, an exotic element can take on an almost casual finish.

• At Alexander Wang, the kimono jacket normally worn by the karateka was subtly transformed. It kept its traditional allure as well as the famous obi (the belt that closes it), but adding Saharan pockets gave it a modern look, distancing it from the cliché.
• At Céline, Philo took the padding that is often found on the edges of the kimono jackets and used it as decoration. She also offered a contemporary touch to this new sleeveless jacket/tunic by opening the sides with two long zippers.

In the end, Wang and Philo both succeed in bringing a remastered kimono into the urban wardrobe, giving it the power to renew their favorite looks with a touch of Zen.

Lace, Old Fashion Turned on its Head

Lace is usually synonymous with retro romanticism, even sexiness, but rarely with modern extravagance. Yet it is the latter aspect that the designers decided to explore this season, attempting to gage the capacity of this delicate material to take its place in the future of fashion.

• At Louis Vuitton, Marc Jacobs placed artisan technique at the service of the label's monogram, offering a delicateness and fragility to a logo that became for the occasion the main motif of a spidery lace. The result was an extremely sophisticated, luxurious and unexpected material.
• At Christopher Kane, lace was not refined through the minute work of Calais lace makers, but rather through advanced laser techniques that can pierce leather with the precision of a diamond cutter. Despite the old fashioned aspect of the motif, the result was a perfect illustration of a successful match between heritage and modernity, and opened the way to multiple interpretations of the concept of lace itself.
• Finally, lace also attempted to free itself of its sensible references under the pencil of Vanessa Bruno, by opting for an energizing color treatment. However, given the lack of subtlety in the end result, it is too bad that the designer did not take her idea further.

In conclusion, although the Dolce&Gabbana trousseau white lace may be the most popular with the fashionistas addicted to summer virginal looks, a place should be left in our closets for a more experimental version, in the hopes that it continues to find more innovative expressions.

Satin

More familiar to bedding than to European dress, satin seems nevertheless ready (especially under the Asian influences over the season's collections) to create a place for itself in the summer 2011 trend hit parade.

• When this material took over the exclusive looks destined to shine in the summer places-to-be, its success was assured. Whether on a fresh and diabolically sexy dress by Stella McCartney or on a harem pant honoring the golden hour of Yves Saint Laurent, satin fabulously supports the sophisticated aura of the ultra sensual ensemble.

Unfortunately, the same thing cannot be said for satin when it tries for a more adventurous style.

• At Miu Miu, the deceptively severe ensembles sorely lacked that touch of glamour associated with satin. Also, when Marc Jacobs used it in a high-wasted candy pink pant, all that came across was a girly pajama.

In other words, if satin is to be taken away from its domestic duties, it should only be done in shine-by-night eveningwear.

Other essential points for spring/summer 2011:

• In this season's shows, the models often walked in groups - an homage to the 80s? (Lanvin, Sonia Rykiel)
• An unexceptional ensemble can be made interesting with the addition of a thin belt in a bright, even florescent color, e.g., Charles Anastase, Burberry Prorsum or Paul&Joe.
• Under the 70s impulse, tie-dye resurfaced at certain labels (Alexander McQueen, Proenza Schouler and Max Azria)
• In the end, pink and red are two tints that go very well together. They will be one of the bankable color pairs of summer 2011, as seen at DKNY, Isabel Marant or Lanvin.
• It is unsure whether the trend will take hold, but this much was clear: barely visible under transparent skirts, the grandma panty was well represented on the catwalks (Dolce&Gabbana, Erdem and Giambattista Valli)
• Will the return of the Creepers at Balenciaga convince the fashionista to wear these not so sexy shoes?
• After seasons of absence, glitter is taking advantage of the wave of optimism rolling through the summer collections to make its big comeback (Balmain, Louis Vuitton and Marni)
• Aside from the animal prints, other graphics are also making a serious attempt to break through in 2011, i.e., the banana at Prada, and the fruit basket at Stella McCartney.
• Colors are omnipresent this season. Following the examples set by Jil Sander, Lacoste and Louis Vuitton, they are even worn in color blocks.
• Colors can also be worn in chic, slightly bourgeois monochromes, as long as a they are given a wide range of expression... (Paul Smith, Prada and Stella McCartney)
• As for hairstyles, the frizzy perm seen at Marc by Marc Jacobs and Marc Jacobs may make a few converts, unless the punk cuts seen at Jean-Paul Gaultier and Balenciaga win out with the hairdressers.
• As for make-up, we like the bright lipstick seen at Jil Sander.
• According to Yves Saint Laurent and Max Mara, the new shirt will be worn with nothing underneath, buttoned up to the top and completely transparent.
• Gaultier says his adieux to Hermès by presenting a delicious, straw basket Kelly bag.
• Given the Chloé show, the Repetto ballet flat will soon begin its golden era.
• VIPs continued to invade the catwalks, from Beth Ditto at Gaultier, to Inès de la Fressange at Chanel, to Veruschka at Giles.
• To celebrate the return of the bohemian influence, we love the Proenza Schouler necklace.
• Fishnet is back in fashion. However, given its tendency to vulgarity, it would be best to pass it over (Isabel Marant and Vanessa Bruno).
• The accent will be on the backs of our tops, showing off sophisticated backs like those at Proenza Schouler and Chloé.

©photo: Style.com

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