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Somehow, in New York, it seemed so much less newsworthy. After all, isn’t it the city that loves a sheath dress like no other, preferably in some glorious hue, and richly embellished; the kind of dress that calls for heels, jewels, and, should it be during the chillier months, a precise coat or a swathe of fur? Yet when London’s idea of fall has been awash with those very dresses, often worn that very way from the likes of Christopher Kane, Jonathan Saunders, Erdem, Mary Katrantzou, among others it makes you sit up and notice. On the one hand, it is, of course, part of the cyclical nature of fashion. London has been so recently enamored of techno/fluorescent colors, digitalized prints, and a certain urban athleticism, goodness knows the dial had to turn at some point and point in a new direction.
On the other, the appearance of that most iconic of markers of grown-up dressing is also representative of the recalibration that is going on among London’s young designers. They’re aspiring to make their clothes beautifully, to offer more nuanced ideas of luxury that don’t rely on branding to imbue them with desirability, and be able to stand on the world stage. And you know what? They are.
Part of that band should include Roksanda Ilincic. Except, the truth is, that even when London was at its craziest and most chaotic, Ilincic was turning out charmingly pretty cocktail dresses; the equivalent of a principessa on the dance floor of Ponystep. The reason being that she has always made clothes for her; the best model to wear Roksanda Ilincic is always the willowy and beautiful Ilincic herself. Her look for autumn is then right in sync with what’s been happening elsewhere in London.
Ilincic’s long, lean line was transformed by the use of color blocking, mixing the now omnipresent claret and deep purple with the likes of kingfisher blue and camel, or practicing fashion’s new idea of reverse psychology, it’s been a week where what a dress/coat/skirt looks like from the front rarely bears any resemblance to what’s happening at the back. She too made use of fur, placing fox around the neck and shoulders like a sporty hood, a witty update on that fusty old 1950s idea of a stole. Yet one thing distinctly locates Ilincic in London. Her take on ladylike dressing doesn’t mean carrying stately purses, but squashy, sporty drawstring bags. They did, however, coordinate perfectly with the clothes.
Somehow, in New York, it seemed so much less newsworthy. After all, isn’t it the city that loves a sheath dress like no other, preferably in some glorious hue, and richly embellished; the kind of dress that calls for heels, jewels, and, should it be during the chillier months, a precise coat or a swathe of fur? Yet when London’s idea of fall has been awash with those very dresses, often worn that very way from the likes of Christopher Kane, Jonathan Saunders, Erdem, Mary Katrantzou, among others it makes you sit up and notice. On the one hand, it is, of course, part of the cyclical nature of fashion. London has been so recently enamored of techno/fluorescent colors, digitalized prints, and a certain urban athleticism, goodness knows the dial had to turn at some point and point in a new direction.
On the other, the appearance of that most iconic of markers of grown-up dressing is also representative of the recalibration that is going on among London’s young designers. They’re aspiring to make their clothes beautifully, to offer more nuanced ideas of luxury that don’t rely on branding to imbue them with desirability, and be able to stand on the world stage. And you know what? They are.
Part of that band should include Roksanda Ilincic. Except, the truth is, that even when London was at its craziest and most chaotic, Ilincic was turning out charmingly pretty cocktail dresses; the equivalent of a principessa on the dance floor of Ponystep. The reason being that she has always made clothes for her; the best model to wear Roksanda Ilincic is always the willowy and beautiful Ilincic herself. Her look for autumn is then right in sync with what’s been happening elsewhere in London.
Ilincic’s long, lean line was transformed by the use of color blocking, mixing the now omnipresent claret and deep purple with the likes of kingfisher blue and camel, or practicing fashion’s new idea of reverse psychology, it’s been a week where what a dress/coat/skirt looks like from the front rarely bears any resemblance to what’s happening at the back. She too made use of fur, placing fox around the neck and shoulders like a sporty hood, a witty update on that fusty old 1950s idea of a stole. Yet one thing distinctly locates Ilincic in London. Her take on ladylike dressing doesn’t mean carrying stately purses, but squashy, sporty drawstring bags. They did, however, coordinate perfectly with the clothes.
Selections by ANDREA JANKE Finest Accessories
Photo Credit/Source: VOGUE
Photography by Marcio Madeira/firstView
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