The battle of commerce vs. creativity has always been an underlying theme present in every fashion week. Usually designers are situated on either end of the spectrum, with the Chloes, Burberrys and Chanels of the world concentrating on desirability, wearability and longevity, nearly trend less pieces and then there are the likes of Alexander McQueen and Gareth Pugh who delight in displaying ferocious fantasies of creative genius. While this battle has always been one that rages through the veins of fashion week it is this battle has become overarching story of the 2009 A/W season. Being in the midst of a recession has piled the pressure onto designers to produce collections that are wearable, desirable, yet inspiring, in other words abundant in 'investment' pieces. But while investment pieces such as a simple white shirt or classic trench coat are long lasting; as something you can also pick up in Gap, they are unlikely to be the holy grail of a collection that will ring in the tills. However On the opposite end of the field, visions of high drama theatrical showmanship such as those by McQueen will hardly be drawing in the cash either. But is it necessary to sacrifice all sense of creativity until this recession decides to draw to a close? McQueen’s collection provided a statement, rebelling against this sense of creative sacrifice and the current predicament of fashion and consumerism. While many criticized the collection for being showy and exaggerated, while neither pushing the boundaries of fashion forward, it was an energising and a refreshing change from the sensible collections of many designers aimed at the middle-aged workforce, that sacrificed the key elements of construction and craftsmanship in favour of profit margins.
(Christopher Kane, Marios Schwab, Richard Nicoll)
However, while an element of creativity is required especially to show that fashion is very much alive and not the sombre, black affair reflecting current economic times, it is the designers who can produce a classic well made garment with an edge, a desirability factor that will come up on top. It is the young designers who are creating waves this season with mainly British talent revolting against the lacklustre recycled conformity the recession is demanding. Christopher Kane, London’s fashion darling has established a label of international repute based on his wearable yet inspiring garments. Kane started out his collection with an androgynous feel, with tartan knits and motorbike jackets leading the way but it is his highly covetable dresses which have caught the industry’s eye. Sheer panelling, scalloping and sheer organza have embellished his dresses which didn't skimp on the creative, yet still manage to be wearable and well constructed. Richard Nicoll and Marios Schwab have followed Kane's lead, with an abundance of conceptual cocktail dresses on Schwab’s runways, and an element of futuristic space age construction encapsulating Nicoll's show. However black still reigned supreme as the colour of choice especially on the Parisian and Milan runways where even fashion favourite Lanvin conveyed slightly sombre mood.
(Balmain, Marc Jacobs, Gucci)
However a select number of designers rejected winter's colour of choice, black, and instead opted to choose vibrant colours as their way of fighting any claims of creative sacrifice. Marc Jacobs supplied a refreshing antidote to all the gloom and doom of the era with a burst of colourful 80’s glamour in his collection. Neon, prints, sequins, shoulder pads, velvet, metallics and brocade provided a rebellious statement against the collapsing economy and the attitudes that people just wont want to shop anymore. Embellishment also offered an escape from the sober mood with Gucci and Balmain offering that perfect mixture of commercial and creative. Gucci, while hardly the definition of creativity, stepped up it's game in these stakes but still remains is perfect example of a label that has gone from raw creativeness to commercially driven. Ever since of the arrival of Frida Giannini to the Gucci label the label had been wrought with criticism of over commercialisation. Opinions have been divided over her accessible channelling of trends and those who want something a bit more fashion forward and boundary pushing then Gianni's market niche of glitter embellished girls out on the town. While the controversial Tom Ford days where overt sexuality was the creative direction of choice are over there was a slight reminiscence of his hard glamour running through the look. Sequins, lame and shoulder pads conveyed a feel of luxe night tome glamour. While the collection wasn’t exactly boundary pushing it did offer an alternative to the austere and overly simplified evening wear on display from other collections. Balmain on the other hand offered a potent mixture of clever embellishment and architectural craftsmanship, toying with geometric shapes to produce a strong visual statement. The label has caused mass excitement for the past two seasons creating an entire look copied by every shop on the high street. The labels blend of big 80’s shoulders, stone washed jeans and a rock chick aesthetic, all while being adorned in vast rage of textures from studs, to sequins, buckles, chains, cuffs and crystals. Like Gucci it has taken the aesthetic direction of the disco-esque nightclub scene.
(Jil Sander, Nina Ricci, Rodarte)
Architecture and cut have been some of the main links that connects a designer to both the commercial and creative aesthetics of a collection. Designers from Jil Sander to Nina Ricci and Rodarte played with beautifully cut shapes and sharp lines especially focusing on the shoulders, a huge trend this fall. Cocoon coats, soft curves and minimalistic one shouldered gowns dominated these shows and showed that clothes doesn’t have to be shrouded in vivid colours and over the top cuts to be creative. Something as simplistic as a well sculptured evening dress can have as much as a visual impact as a garish and haughty McQueen gown. Rodarte offered a sumptuous mixture of interesting cuts, textures and colours to their collection. This relatively new brand has wowed the industry and is a favourite of Hollywood celebrities and fashion personalities alike. The brand is utterly unique and its a/w perspective was eery yet ethereal at the same time. Confections of sculptures knits, chiffons and even foils enthralled the audience as mini dress after minidress sauntered down the runway. This brand remains unique in its ability to offer artistic creations while still retaining a commercial edge.
While most would assume the recession demands a pared back, simplistic approach to fashion, designers are refusing to obey these rules demanded by a collapsing economy. While some may have stuck to what they know best, others offered an alternative option allowing consumers to choose between a wide range of visually inspiring garments that don’t skimp on the creative factor and are yet wearable and desirable at the same time, and while not instantly recognizable classic this season has produced some of the best ‘investment pieces’ to date.
