Louis Vuitton Resort 2018 Review

     Louis Vuitton's collaboration with David Bowie costume designer Kansi Yamamoto was a triumphant success and soaring representation of modern Japan without being insulting or too gimmicky. Vuitton under Nicolas Ghesquière is all about far-flung collections easy for travel. In fact, that is what Vuitton has always been about since its inception in 1854 as a luggage brand for the adventure seeking wealthy classes of Europe. In today's age, the wealthy class still loves to travel, but the world as a whole is so much more aware of itself and different cultures. The last thing Vuitton would want to do is offend any demographic they are trying to sell to. Thankfully, this Resort collection explored Japan in a non-appropriative way. Kabuki style makeup, sharp tailoring, and fabric blends that signifying the world's cultures all coming together showed Ghesquières respect and coherence while still speaking the Vuitton language. It's easy to go on and on about the otherworldly location on which this collection was placed, as well. Kyoto's Miho Museum and bridge lifted hearts and syncopated the fantastic blend of nature and hyper-modern steel. Though this is not Ghesquière's first big outing for Vuitton, this is certainly the best so far. Unfortunately, Vuitton can tend to look repetitive when presented down a runway. There's little drapery, and usually only two silhouettes: tailored tops with skin tight trousers, or a knee length dress, also skin tight. However, this Resort collection expanded on those two silhouettes, and allowed for more flow to gowns and embellishments that people crave. Most identifiable to the theme of Japan and Yamamoto's work were the beaded gowns shaped into traditional art inserted and sheer ruffles. This is a way forward for Louis Vuitton under Nicolas Ghesquière and it should be able to expand itself technically in order to create more inspirational clothes. 

Prada Resort 2018 Review

     This quintessential Prada collection can be summed up as a curated blend of all the original ideas that Miuccia Prada has been coming up with within the last decade. Japanese-esque folds and tailoring, Art-deco knee high socks, technical black nylon (which made Prada famous), corporate branded belts, and intimidating high heels together repeated throughout the collection. Gray tailored coat-dresses and feathered trims on sheer dresses created modern glamor. The entire feel for the collection was about mixing technicality in synthetic fabrics and glitz by way of embroideries, piette sequins, and strands of beads and chains. Medieval sensibilities came though as well with chain mail inserts and neck pieces. The sneakers, oversized sunglasses, and bulked clutch handbags will be big sellers for Prada's modern clientele.  Though Miuccia Prada denies the fact that this is anything different than her regular runway shows, there was an adjusted flow to this collection. More commodity driven, as most Resort and Pre-fall collections are, allowed Prada to explain exactly what will be in store after the Fall 2017 Ready-to-Wear pieces make their cycle and what their customers should be buying for their summer vacations next year. And speaking of next year, it will be interesting to see what Spring/Summer 2018 will look like from Miuccia Prada's point of view, after the Fall/Winter 2017 bohemian collection and this resort collection were both successful in terms of presentation. 

Mugler Resort 2015 Review

     David Koma has taken over as Creative Director at the House of Mugler, and this latest Resort collection is his first achievement. How glad am I to see a new Mugler collection? Elated. Ever since Nicola Formichetti left the House of Mugler the brand was in a dry spell.  Now, with Koma in charge, Mugler has something new to show. The lookbook for the Resort 2014 collection was shot in understated black and white as well as soft color. I loved this concept because the black and white shots seem to highlight the silhouette, structure, and cut of each new garment. The harness-like straps on tailored blazers, skirts, and tops really makes this collection cutting-edge. Knee length sheath dresses showed color in large graphic prints and straps. Each garment is structural, with hardware and soft femininity working it's way in. The gowns in the last few looks are simply stunning, with classic black fabric and sophisticated embellishments. Examples include clear sequins and straps. David Koma has certainly simplified the "New Mugler Woman", a stark contrast from the original and the revamped Nicola Formichetti versions. The original Thierry Mugler created looks that were sexy, futuristic, and extremely brash. The revamped Formichetti version modernized the Mugler woman into the twenty-first century (with the help of Lady Gaga, no less). Now, without looking too much into the  past, David Koma has completely redefined the Mugler woman, giving her simplistic edginess and beauty. Koma doesn't want to expell the idea of Mugler past at all, actually Style.com says that Koma's desire to be a designer started when he would look at his mother's old fashion magazines and see Thierry Mugler's designs on gorgeous women.  In fact, David Koma wanted this collection to be a starting point to the future of the House of Mugler, these garments a template for the future.

Chanel Resort 2015 Review

     Whenever Karl Lagerfeld has an idea for Chanel I find it amazing. His creative genius makes him this decade's Picasso. Except, of course, Lagerfeld's medium is fashion. Now, I could go on and on about how much I adore his ability to find fashion inspiration in anything, but I feel like it would be too superfluous. Anyways, the presentation for Chanel's Resort Collection this year was boundary pushing and fantastic as ever. It held many Middle-Eastern influences from shemagh prints and beautiful jewels that highlight Dubai's expensive tastes. It was costume jewelry, something Coco Chanel was fond of in the 1920s. Karl Lagerfeld always has the ability to revamp classic Chanel to these modern times. Indian culturalism was a beautiful symbol throughout the collection, from the woven prints to the jutti inspired flat shoes. The big hair and light lips gave off of a 1970s vibe, a contrast from the cutting-edge. However, it worked. These two influences blended together in perfect harmony while remaining contemporary. The entire venue for the show was like a massive lounge. With the viewed on plush couches that sank into the soft cream floor. The models walked around this carpeted floor, almost casually! The decor was fun, with structural palm trees and logo embossed lattice above full glass windows. My absolute favorite look was the second to last look, with the Dubai skyline embroidered onto a beautiful black shirt with matching pants.