Design & Culture by Ed

The meaning behind Céline’s spring-summer 2017 has been already conveyed in the soundtrack of the noisy city traffic and joyous children laugh. Loosely fit pastel top, indigo skirt and white sneakers – is there a better and more comfortable outfit for a day filled with errands, like picking your kids up from school? Or rushing to the office? The runway wasn’t a usual aisle, squeezed by editors and buyers. Models walked in random directions, sometimes in little groups, presenting a range of different personalities. A Céline woman isn’t only one type of women: Phoebe Philo proves that.

From masculine coats to intriguing dresses, nothing seems to look pointless here. Even though A LOT happens in this one specific collection. Her venture into sex-appeal is non-conformist and elusive, resulting in a dress with faux-corset, and a pair of sandals. Man-repelling? Depends on the guy. Speaking of the shoes, there were a lot of great heels and boots, worn two colours at a time. The colours were mixed up, ‘cuz “why should our shoes always match?” There isn’t one word to describe it all – it’s rather about understanding Phoebe’s “woman for women” world, which is far from trends, but always a step ahead from the others.

Helmut Lang spring-summer 1998

In her twisted elegance for spring-summer 2017, Miuccia Prada sent down a line of feather-trimmed jackets, bras and skirts. The dresses by Prada, with ostrich-feathers on the sleeves, were pure lightness, blurring the silhouttes’ minimal cut and old-fashioned opulence. “No other material stirs the imagination quite like the feather“, said the intro to Antwerp’s MoMU exhibition dedicated to plumes and feathers back in 2014. That’s quite true – for centuries, feathers were symbol of sophistication and refinement in women’s wardrobe. Valued by designers, like Sarah Burton at Alexander McQueen (and the late designer himself) or even Phoebe Philo of Céline, feathers are the quintessence of preciousness. Whether traditionally crafted by skilled artisans called plumassiers, detailed with the help of Maison Lemarié in Paris or simply turned into ethereal headpieces (Maria Grazia Chiuri’s debut haute couture collection for Dior; Helmut Lang‘s all-white feather crowns from the 90s).

Céline Pre-Fall 2010

Christopher Kane autumn-winter 2016

Prada spring-summer 2017

Hillier Bartley spring-summer 2017

Prada spring-summer 2017

Hillier Bartley spring-summer 2017

Prada spring-summer 2017 by Willy Vanderperre

Prada spring-summer 2017

Prada spring-summer 2017 by Willy Vanderperr

Helmut Lang spring-summer 1999

Céline Pre-Fall 2010

Givenchy spring-summer 2014

Givenchy haute couture SS17

Alexander McQueen spring-summer 2014

Dior haute couture SS17

Some designers choose to use feathers spontaneously, one-time, like London-based Christopher Kane. But others, like Ann Demeulemeester, feel strong affection towards feathers since childhood. The queen of Belgian fashion especially favoured dove feathers and transformed them into timeless pendants. For her first fashion show in Paris in 1992, she placed on each chair a leather string holding dove feathers. In 2000, a priest called her and asked whether she can ‘dress’ the Madonna in Saint Andrew’s church in Antwerp. The effect was a feather bustier, which ideally matched the holliness and spirituality of this place. Although Demeulemeester stepped down from her role at the brand, Sébastien Meunier succesfully continues her feather legacy. Just see his poetic autumn-winter 2017 collection for men (note the hats and shawls).

Ann Demeulemeester AW17

Ann Demeulemeester SS92

Ann Demeulemeester AW11

Ann Demeulemeester AW09

Ann Demeulemeester SS08

One of the biggest fashion moments connected to feathers that always hits my mind is Peter Lindbergh’s cult editorial for Harper’s Bazaar in 1993. Amber Valletta, looking like a fallen angel, wanders around New York in her white wings and white suit. Beautiful and melancholic simultaneously. Light as a feather.