It is an eclectic woman who is unafraid of politically incorrect combinations or deviations from the so-called straight path that Jonathan Anderson advocates for his Autumn/Winter 2017/18 collection. Less intellectual than usual, the collection heralds its distant origins as much as its Western culture, adding even a touch of “street” to its decidedly bourgeois look: a fox coat slips over wide jogging pants, while dresses decorated with marabouts feathers are worn only with a pair of sneakers. A modern yet precise definition of a femininity 2.0.
Halfway between the stables of her cottage in Kent and her London penthouse, the Mulberry woman appropriates the codes of British chic, allowing herself to divert them without losing her credibility. The hook is color-block, the tartan is oversized, embroidered, sometimes even in quilted plaid, while the accessories (pillars of the venerable brand that conquered the world in the tune of Bayswater camel) consist of all the pieces that will invade, in the coming season, the hands of the most streetstyled it-girls. A fair combination of tradition, trend and British humor. And moreover, the good kind.
Staying true to her Victorian aesthetics, the bouffant volumes and the profusion of lace that defines her identity, Simone Rocha sets out to conquer a new and certainly not minimal concept: beauty without age. As such, we see a more austere uniform than usual worn by models, each chosen for having marked their individual eras. Marie Sophie Wilson-Carr, Audrey Marnay, Jan de Villeneuve, and Jaimie Bochert were battling it out for the headline, each with their own claims to fashion legitimacy. In addition to that of lady Rocha who, with bouts of velvet and ruffles, enchanting us through her textile poetry.