the gentlewoman
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Issue n° 19, Spring summer 2019
Clare Waight keller
the gentlewoman ISSUE N ° 18 AUTUMN & WINTER 2018
THE GENTLE WOMAN 73-75 kenton street London WC1N 1NN United Kingdom +44 20 8616b5433 office@thegentlewoman.com thegentlewoman.com EDITOR IN CHEIF: Penny Martin ART DIRECTION AND DESIGN:Veronica Ditting FASHION DIRECTOR: Jonathan Kaye CREATIVE DIRECTOR: Jop van Bennekom ASSOCIATE EDITOR: Kathryn Holliday, Gert Jonkers SENIOR EDITOR: Richard O’Mahony EXECUTIVE PRODUCER: Jordan Kelly CONSULTING DESIGNER: Merel van den Berg DESIGNERS: Florline Bonaventure, Adriana Caneva FASHION EDITOR: Eliza Conlon EDITORIAL ASSISTANT: Lucy Milligan EDITORIAL INTERN: Sara Merkenschlager SUB-EDITOR: Laura Martz WEBSITE DESIGN: Studio Scasascia COMMERICAL DIRECTOR: Elizebth Sims MANAGING EDITOR: Antonia Webb MANAGING DIRECTOR: Magnus Akenson CONTRABUTING EDITORS Holly Brubach, Sophia Elmhirst, Seb Emina, Ann Friendman, Cristina Ruiz, Susie Rushton CONTRABUTING FASHION EDITORS Francesca Burns, Malina Gilchrist, Alex Harrington, Jane How, Max Pearmin CONTRABUTING WRIERS Tamsin Blanchard, Lauren Cochrane, Amanda Fortina, Marina O’Loughin, Jude Rogers, Mark smith, Ellis Woodman
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I mirror. I am your Givenchy spring summer 2019 4
Royal wedding buzz still lingering in the atmosphere, Clare Waight Keller’s collection for Givenchy’s Paris show has been highly anticipated. The collection was inspired by Annemarie Schwarzenbach, a photographer during the 1900’s who was far ahead of her time through identifying with both male and female gender codes, that was openly encouraged by her parents who bought her up to identify as neither a male or female. ‘I am your mirror’ titles the collection; guests had to travel to their seats down pathways of darkness illuminated by one single laser trail, reflecting and bounced of mirrors to lead the way. This referring to the broken boundaries of gender Annemarie exhibited during her life, not a fixed element but someone who was free to change and explore. The model choice was a clear reflection of this, striking androgynous looking women with boyish haircuts walked with conviction down the grey corridors.
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The absence of models who fit the classic ideas on beauty is refreshing, allowing for the clothes to feel wearable, sensuous and classic. With the departure of Phoebe Philo from CĂŠline a fashion house that became known for its low-key minimalistic style, maybe Clare Waight Keller can fill such a void? Essences such as high waisted masculine trousers, a feminine flirt was added through a cinching of the waist enhancing the curves of the models, this was done with a large simple belt. Mirroring the complexities of a duel identity, and how they can live in a harmonious relationship. Although Waight Keller line was pure, such seen within the one shoulder emerald toga dress, she frosted the models with large garish earrings and glasses that cascaded silver jewels directly contrasted to the minimalism. An ocean blue dress with quarter length sleeves and pleated fabric that moved like cascading waves broke through the grey and set the scene. An array of classically tailored trench coats flooded the runway (surprise trench coats feature in yet another collection). Displayed through leather olive-green coat paired with black cigarette trousers and patent Chelsea boots. Highlights of spicy mustard yellow and soft Lilac felt refreshing when next to the electric blue. A lavender suit with a glistening sheen reflected the whole collection, wearable and undeniably desirable clothes real women and men want to wear.
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The two sides of Annemarie Schwarzenbach were clearly shown through the beginning and end of the show. The beginning showed more structure that emerged and changed into free-flowing iridescent silver material, reminiscent of shattered mirrors. Clothing throughout remained genderless, opposed to a ‘his’ and ‘her’ style jackets Givenchy has formally done, a universality that’s allowing for the clothing to speak for itself and there was a lot to say.
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Headwear
trends
Simon Rocha s/s 19 Photography: Marcus Tondo
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19 ndo
Erdem s/s 19 Photography: Marcus Tondo
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Headwear
Within Simone Rocha’s show unusual beekeeper style hats swarmed the runway, colours red and black zig zagged over the bodes and arms, free embroidered flowers planted themselves over the bodes and a-symmetrically dripped down the skirt. Netting overflowed from the top of the hats that also found flowers entangled within. The headwear also gave the impression of somber black veil brides during the Victorian era. Rocha explains how the rituals of funerals and weddings can allow for her to extend a hand to distant Relatives and bring the family closer.
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Erdem showcased oversized matching hats often, the model’s heads encased in the finest whisper of netting. Their identity was almost hidden, like hidden ladies of the Victorian night whom had sexual freedom and liberation. Ironically this show was held inside the Victorian gallery, the long thin runway had paintings of important British figures either side looking down at the models, almost as if to be judging them for their taboo sexual liberation of the time. Meanwhile on the Chanel beach, Straw hats shaded the Riviera sunlight. Whilst Dolce blooms sprouted from the model’s heads like a flourishing garden. Beauty of mother nature showcased in all forms including a crown of luxurious gold with jewels in royal shades of crimson red and sapphire. It’s hard to see crowns without feeling nostalgic of your childhood, influences granting us all with the belief we one day could be a princess. Playing dress up and transforming ourselves through garments isn’t far from what fashion’s charm is today. Dolce teaches “Each one of us is the king or queen of our own lives” transforming headwear into an ideology of empowerment and self-belief.
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Unapologetic boldness When thinking of headwear, its often associated with flamboyancy, creativity and unapologetic boldness. Matty Bovan was all these things, to be blunt the materials used to form his work where far from luxury, scraps, everyday objects and anything that could come to hand seemed to form the headdresses that stood tall and towering. . Matty bought the queens guards to London Fashion week. A bearskin hat with a chunky gold chain around the chin felt superbly random when walking after a headdress with an assortment of a Spatula, spoon and a sushi plate that found themselves balanced in a wire whirl wind Ryan Lo wanted a taste of the action, a colossal red cone perched on top of seemingly shrunken models that wore washed up shades of pale pinks and lemon drizzle on a peter pan collard dress that felt fairy tale like. Candy Floss pink layered netting whipped up like cake frosting swirled upon another models hair. A wonderland of headwear that felt avant garde yet wearable, which is a magic trick within itself.
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