Ah, SS2012 couture season…wedged between the amorphous non-schedule that is pre-fall and the upcoming FW2012/2013 schedule that will keep editors in a constant state of readiness and jetlag. The collections that are the creative height of designers who work with the most precious, delicate and exquisite of materials utilizing craftsmanship of incredibly high standards to dress the smallest segment of the population that can well-afford the luxury it represents.
Traditionally this is where we once relied to have the latest glimpse of creative direction. Although the evolution of accessible fashion information has changed that game to a certain extend as empires are grown through mass marketing, nonetheless one can spy nuances through couture. Keep in mind that this segment of the population (as mentioned in prior articles written here before) like to be first. This must be balanced with the output that these same designers create for the larger public, where trends must harmonize.
To be sure, the expected shine, use of lace and period detail references (Deco, Victiorian and Edwardian)that has been in the regular collections were present in the couture collections. Structure was also present to some degrees in all collections and some, such as Bouchra Jarrar, recognized our military nod to order while others such as Chanel, Dior, Giambattista Valli, and Givenchy found comfort in capes or structure in shoulder areas offering protection of sorts. Many had crocodile incorporated into collections as well, the armor-like scales shielding the wearer in high style.
The more dimensional texturing that would be noticeable in regular collections is always a mainstay in couture. Other expressions of dimensional application such as play with light and perception of colour were employed by Armani Prive. The use of layers and texture on sheers to create dimension was found in pieces by Dior and Valentino.
The nod to the future was also tied into some collections, be it the tech integration of beading and pattern by Maxine Simoens) or the retro-futuristic portrait necklines simulating spacesuits executed by Chanel in a similar fashion to those in the 60s when the space race was very much in vogue. Whereas the fantasy then was the idea that mankind would live in space Chanel’s presentation brought home the reality that space will be conquered by those who can afford it.
If there is one word to encapsulate the feeling of the collections, though, it is the desire to escape. Looking at the 50s where the need was great when looking at the realities of the Red Scare the use of organzas, chiffons and tulle was high, all textiles offering the ethereal lightness in the process. Pastels also came into popularity for the innocence it conveyed (or in what the public hoped to embrace). With public animosity aimed at the very clientele which this market caters to, it becomes understandable to see this desire reflected in many collections, such as those from Dior, Elie Saab, and Valentino.
Escape is not a sentiment exclusive of any economic class as when there is an imbalance everyone is affected. The symbiotic relationship that is life reminds our conscience when things are amiss, and even if one can insulate themselves from hardships that others must face the awareness cannot be erased,. This is especially the case when the source creating elements of retreat are closer to the thing we avoid. As long as we have art to shape the elements of detail that defines creative expression and beauty we will be plugged in, no matter how far we go.