To some designers, the slowed down pace forced by the pandemic does wonders. Riccardo Tisci‘s latest collection for Burberry is his best yet for the British brand. The autumn-winter 2021 line-up reminds of Tisci’s early work at Givenchy: dark, well-edited, elegant, and perfectly balancing the feminine and the powerful. “Re-thinking a lot” was how he described his pandemic experience. “I had time to slow down. The fashion business is very fast. It’s a huge company. I was ticking boxes, and I was like, ‘Okay, stop.’ ” Rather than over-saturating his runway with multiple market categories and menswear, Tisci presented a focused women’s collection rooted in the ferocious and sensual but viable glamour that is his (slightly forgotten by the public) signature. “Slowly we’ve built an identity, and I realized my identity was very strong within the label,” he said, evaluating his tenure at the house. “It’s the most free collection I’ve done at Burberry.” Tisci expressed it through references to the clothes historically worn in nature, most specifically around the turn of the last century. “Through history, the costume of people going to the forest has been very ‘child-designed’: a naïve outline, but made much more sensual,” he said, explaining his approach to the idea. The ease and adaptability represented by those garments inspired dresses constructed as if from squares sewn together, and transformative takes on tailoring which could be de- and reconstructed by the wearer using closing techniques. There was an arts-and-craftsy character to the collection, backed up by manipulated flag and astronomy motifs and the lashings of eco faux-fur that drove home Tisci’s nature-centric message. His post-pandemic mindset had discovered a kindred spirit in the naturalist movements of the late 19th and early 20th centuries, which informed the collection. Fueled by the malaise of the fin-de-siècle, it was a time when instinct and whim were put above rationalism and materialism, when artists felt the call of the wild, and sought to de-program themselves from the rules of society. Before the show, Burberry released a video of a British-ly diverse crew of women reflecting on the meaning of femininity now. And the spoken-word show-opener by the British performer Shygirl, who starred as “Mother Nature,” was an homage to the waves of liberation and celebrations of identity washing over contemporary culture today. “It’s very sexy, I think, but without being vulgar. Femininity is something I really wanted to achieve at Burberry when I arrived, because it’s a very masculine company,” Tisci said, referring to the trench-tastic roots of the house. As with the progressive young generations to which his videos paid tribute, authenticity is key. For Burberry, it’s found in a menswear-y character that its female clientele probably expects. For Tisci, it’s the sensual and almost athletic glitz in which he excels. This collection showed that the two can co-exist on the same runway. As he said, “I feel like I’m starting to see my vocabulary at Burberry.” Finally.
“Live” collage by Edward Kanarecki.
I might not be a Michael Kors fan, but his latest collection (celebratin the brand’s 40th anniversary) is so great. It’s the old, good Kors of the late 1980s and early 90s, adapted to contemporary times (well, maybe specifically the re-emergence times that will come sooner or later). How do you sum up a four-decade career in 63 looks during a pandemy? In an audienceless show, you’ve got Naomi Campbell, Helena Christensen, Carolyn Murphy, and Shalom Harlow vamping down New York’s 45th Street in evening sequins and double-face cashmere. The designer told Vogue that in the downtime of the pandemic, he’d gone searching for the “connective threads” of 40 years. “Certainly timelessness is something we’ve always prided ourselves in, something that I think our customers really appreciate.” One season he gives his runway a timely Mad Men gloss, another it gets a Studio 54 spin, but his collections are always optimistic, always unshakably him. Much of what he did first, American fashion now takes for granted. Bare legs in winter. The unexpected combination of a rhinestone-encrusted cocktail dress and a man’s topcoat. A city-country mix. An evening number with streamlined athleticism, a maillot with leather straps and matching heels. “Extremes of opulence and glamour with simplicity and ease” is how he summed up his approach. In a year when the Costume Institute is showcasing American fashion for the first time in decades it seems important to recognize that much of what we think of as American sportswear is Kors-ian sportswear. Considering our collective experience of the last 13 months, back on 45th Street Kors put the emphasis on opulence and glamour. “People are going to want to step out, get dressed up – in certain instances get overdressed. Girls are going out for a hamburger in cocktail dresses and high heels.” This was his bid to clothe them for those reemergence moments. Maybe in a red patent leather balmacaan, a “cotton ball of a shearling coat,” or a glossy black puffer cape. Or perhaps in a hand-sequined silk jersey gown in gold under a pavement-sweeping camel cashmere coat. And always with a spiky pump or slingback.
“Live” collage by Edward Kanarecki.