TOP OF THE POPS

The buzz surrounding Topshop’s arrival in New York has reached nearly deafening levels. Not since the now ubiquitous H&M landed on American soil has a single store been so blatantly thrust upon the populace. Though everyone is excited for the prospect of yet another affordable option for trend conscious threads there is some uncertainty as to whether the UK chain will be as popular on Broadway as it is on the high streets. While only time will tell what Topshop’s fate in the US will be the selection showcased in it’s fall collection displays promise.

When crafting a mass market mix of looks inspired by the runways the trick lies in imitating the right labels. There are hints of Miu Miu in the harlequin printed dresses – some of which ape the tutu style of the Spring collection exactly. A black patent trench mirrors the now famous Alaia worn by Carine Roitfeld without being too redundant. There are also references to just about every designer who favors the offbeat – from the Luella wannabe plaid miniskirts to the Margiela-esque oversized printed tees. Every trend one could possibly hope for is front and center in this collection albeit with less zest (and fabric quality) than found in the originals.

Overt trendiness can sometimes be too much of a good thing and the wrong pairing of items could easily result in fashion victimhood. The styling on a few of the looks presented treads into that murky territory but these are merely unpleasant detours on an otherwise scenic route. Topshop has done its homework – the majority of it’s disposable chic pieces would fit perfectly into any fashionable wardrobe.

SOME WEIRD SIN

There are shoes and then there are personal statements worn as footwear – Prada specializes in the latter. While the F/W collection focused on an almost subversive application of transparency and lace, the corresponding shoes are something altogether different. Though they rely on the same intelligent eroticism that permeates the entire collection they are not typically “sexy” shoes. There is no revealing toe cleavage or towering stiletto but there is carnality. The combination of nearly hidden flesh tone straps and unyielding arched heels calls to mind something sinister without delving into a literal bondage reference. Too many have already conquered that territory and if we can expect one thing from Miuccia Prada it’s unorthodoxy.

Instead of the everyday pump were given shoes with wings and ruffles that curve like blades – little sculptures attached to vamps and heels. These touches are beautiful, whether the shoes lean towards being art deco or abstract. The sheer variety presented has to be marveled at – even the plainer styles have special additions like oddly curved heels or beaded detailing. For anyone in search of a shoe that starts a conversation (or ends it for that matter) there is something to offbeat to be found.

A GILDED CAGE

There is an air of familiarity to every Chanel couture collection – while Karl may entice us with a change in silhouette or a shift in theme these alterations are essentially new twists on old tricks. Chanel is always Chanel and no matter where its head designer draws his inspiration some things are certainties. One knows just what to expect from Chanel each couture season – remixed versions of the classic tweed suits, glittering gowns that make use of the best in old guard ateliers and perhaps most importantly an incredible sense of showmanship with regards to the presentation of these embellished offerings.

THE FEMALE GAZE

Though fashion imagery is fueled by and intrinsically linked to constructs of femininity the majority of its creators are male. Read through the photography credits of most publications and you will invariably spot a pattern – with the exception of a few male/female dynamic duos and iconic industry presences like Corrine Day and Camilla Akrans, female fashion photographers are are rare breed.

Which is why its so rewarding to chart the success of Emma Summerton, an Australian photographer and i-D/Vogue UK regular who is becoming one of the leading female voices within fashion photography.

DRAWING RESTRAINT

When playing word association the phrase “Dior Couture” is likely to conjure responses like outlandish or over the top. The word restrain rarely has a place in the Galliano vocabulary but every so often he provides a collection that is both masterful and understated -at least by his traditionally maximalist standards.

Today’s Dior Couture presentation kicked off the pomp and circumstance of Paris Couture week, like any good opening act it served for foreshadow events to come. If Galliano’s vision is anything to go by this will be a week that looks back to the history of couture itself. Inspired by Irving Penn’s classic photography the pristine collection of ladies who lunch suits, debutante cocktail dresses and socialite gowns was steeped the history of twentieth century high society. Unlike previous Dior couture offerings which have leaned towards the otherworldy – this presentation was firmly grounded in reality. A rarified and exclusive reality but certainly more accessible than Galliano’s recent forays through space and time.