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At Sportmax, the mood was Moroccan. Patchwork leather coats (much a theme in Milan) mimicked the patterns on that country’s ceramic tiles, as did the bold graphic wool felted coats. The nomad accents were purely architectural however; no major colour here, just a wash of muted blacks and whites and khakis, all part of an underlying military tone which saw dresses fastened with silver zipper pleating, and utilitarian marching clothes with D-rings, snaps and slits at the side for ease of motion. Lengths fell well below the knee and the silhouette was sculpted at the waist. Shoes were mid-height and block-heeled.
It was a beautiful collection, but it would have been more arresting had more of the looks not appeared so familiar. The ballooning three-quarter-length dresses and coats, with rounded shoulders and gently nipped waists, looked painfully like Céline SS16. Ditto the viscose pleated dress. The macramé knits and mono-graphics also bore an uncanny resemblance to past Céline collections.
Many point to the issue of styling when it comes to “homage”. The stylist, who is generally a freelancer and may consult on a collection in its development, can have a profound influence on the show’s final shape. Some of them, it seems, are spread a little thin.
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