Edwina Ings-Chambers; 'Transforming influence of return to basics', Financial times, 10th October 2005
To say fashion has gone back to basics could make it sound like a party political broadcast, which is not the case. It might imply fashion is plain or unembellished - also not the case. What fashion has done is to return to the importance of fundamentals, to appreciate the importance ofgreat, perfectly tailored staples from which you can build.
Designers know that, once the basics are in place, they can be transformed into statement makers. In a atmosphere where the smallest things are important, it is easier for the smaller, more independent, brands such as Giambattista Valli to flourish. Valli's clothes were pared down so that immaculate cutting and pale-hued fabric took centre stage. Elegant shirts with curved front plackets teamed with full lace or taffeta or shirt dresses that gave way to tulip skirts were followed by shift dresses covered in nets of tulle holding petals, or taffeta gowns with fabric gathered and twisted into off-centre bustles or over-sized petal belts.
Attention on fundamentals was emphasised at Martin Margiela where models in tailored, but largely unfinished, trouser suits and shirt dresses (sleeves missing, trouser legs unsewn, dress hems uncut from fabric rolls) signalled that, once the basics are in place, it is all a question of degrees. Lars Nilsson at Nina Ricci, an expect in degrees, knows at what point feminity remains womanly, so avoids girlishness and has turned the Puig-owned house into a fashion talking point.
For summer Nilsson's signatures were there - sophisticated tailored jackets, chiffon overlayers to give softness to silhouettes, lace belts and trimmings - but added detailing included straps on simple dresses that criss-crossed at the back and tied in bows at the front on the waist of a silk shift or threaded through an empire line seam, a bell-skirted navy trench, and silk dresses with gathered pin tucks on one side of the body rather than simply draping over it.
Alexander McQueen seemed to return to his Saville Row roots with a display of modern suiting - shrunken black tie jackets with buttoned-back lower lapels and skinny trousers - which were dramatic, desirable and a complete turnaround from his Kim Novak-inspired winter collection and new signature Novak handbag (great on the creative front but possibly confusing for customers). And were those bandage and goddess dresses a homage to fashion greats Azzedine Alaļa and Gianni Versace?
Hermès knows all about classics and under Jean-Paul Gaultier, the house of the Kelly bag presents and represents some of the most classically stylish yet modern clothes around - yes, it is possible to be both. Layered outfits of fine-gauge rollneck jumpers and cardigans fastened with narrow leather belts over wide-legged linen trousers were alongside three-piece linen suits with three-quarter length, slim trousers and silk shirt dresses, with an oasis garden print, that fastened with one button pulled to the side and worn over slim leather trousers, keeping things bang up to date.
Also moving things along was Phoebe Philo at Chloé who left Victoriana laces behind and moved on to a more 60s, voluminous shape. Skinny-fit coats gave way to sculpted A-line skirts, poufs or chiffon dresses were topped off with fitted, faintly military, jackets, pristine cotton-waisted dresses with full sleeves and lace-frilled smock tops over bell skirts, and a series of plissé dresses offered a sophisticated freedom and a new area of exploration for the cool Chloé customer.
Karl Lagerfeld at Chanel was exploring too: what would the result of Chanel meets James Dean be? The answer was houndstooth check tulip skirt dresses and fitted black tweed jackets teamed with super skinny above-the-knee denim, broderie anglaise (and lace?) shorts. Where volume was added to tweed jacket sleeves the effect appeared heavy. But when applied to white cotton trousers under skinny tweed shifts, it was soignée and instantly shoppable. And there was a Little Black Dress to suit anyone. Suiting everyone was something John Galliano wanted to do. His models of Victorianesque circus freaks were intended to remind us that "Everything is Beautiful" - even in the fashion circus. His interest at Dior in showing the construction of clothes (visible seams and underpinning) appeared to carry through to his own label with tulle-covered waisted jackets and nude corsets underpinning) appeared to carry through to his own label with tulle-covered waisted jackets and nude corsets under voluminous tulle Edwardian gowns. Simplicity, whether of silhoette or detail, can be the hardest thing to achieve, but its strength is indisputable.