Post-pandemic fashion: Iris Van Herpen, Schiaparelli and Valentino herald return of joyous abandon
If recent runway shows and red carpets are any indication, designers are preparing for a post-pandemic assault of unbridled extravagance.
Those familiar with fashion know that different eras are defined by different looks.
In the late ‘40s and ‘50s, it was effortless femininity, spurred on by Christian Dior’s ‘New Look’ silhouette and a deviation from the ‘Flapper’ style of decades prior.
The ‘80s showed unapologetic capitalist excess that stemmed from a booming economy, only to be rejected a decade later in the ‘90s through pared-back minimalism – think Tom Ford’s silky shirts in his first mid-‘90s Gucci collections, or Marc Jacobs’ handbag-free first Louis Vuitton show in 1998, rebelliously eschewing the one item that the French brand is most famous for.
Irony took the cake in the 2010s, with brands like Balenciaga and Givenchy normalising high-priced streetwear, ‘ugly’ sneakers and ironic slogans – perhaps an indirect response to social media and increasingly absurd global politics.
It can be difficult to guess the trends that a specific time period will be synonymous with, especially when we’re living through it. However, we can take educated guesses from life-altering events, and the Covid-19 pandemic is an obvious case in point. Never has there been such a sharp 180-degree turn in the way we dress over the past year – and as lockdowns swept across the world, comfort became our number one priority. Our clothing began to reflect the non-existent desire to leave the house, and tracksuit pants, sweaters and slippers became the ports-of-call for many.
This begs the question: what will the fashion world look like when we can celebrate freedom? Despite vaccines beginning to roll out across the world, many countries are still in a state of limbo, including Australia – but if recently debuted fashion is anything to go by, the circumstantial lust for fun and frivolous fashion is on the up.
Take the recent runway offerings from fashion shows of late. At Marc Jacobs’ autumn/winter ‘21/’22 show – where guests had to present their vaccine pass upon arrival – the keen-eyed designer incorporated the comfort we’ve all become accustomed to, while adding his own signature whimsy. The giant puffer jackets were instantly memorable, while ski clothes and balaclavas were paired with chain-link skirts; proving fun in fashion can be had while still being as comfortable as we are in our trackies.
Across the Atlantic, Paco Rabanne’s spring ’22 show presented a long-overdue party. Designer Julien Dossena found new ways to incorporate the brand’s most famous emblem – the chain mail link – into clothes that were as vibrant and energy-soaked as their setting on the Côte d’Azur in Monaco. The vibes were fun, dramatic, and exactly what style should embody after a year of dressing for no one but ourselves, and the ocean backdrop worked as a reminder that the future lies ahead unwritten.
Then, there was Schiaparelli Haute Couture, a show that surprised no one in its unapologetic excess. American creative director Daniel Roseberry’s garments are making waves in influential echelons – Lady Gaga wore custom Schiaparelli to the inauguration of President Biden, while Dr. Jill Biden was recently spotted in one of the brand’s svelte suits – and if there’s ever been a visual expression of a forthcoming creative flurry, it was there. Fantasy-like gowns and bodysuits mixed metallic ear and nose-shaped pendants with decorative bodices and faux-abdominal muscles, as well as a lung-shaped necklace, which has already been sported by supermodel Bella Hadid on the Cannes Film Festival red carpet.
If you haven’t heard of Dutch designer Iris Van Herpen, all you need to know is that she’s at the cutting edge when it comes to future-thinking design, and her dresses look like something out of a sci-fi movie. Like many designers this haute couture season, she stepped things up a notch even further: having skydiver Domitille Kiger wear one of her fantastical gowns, before jumping out of a plane. If that isn’t a visual embodiment of the fashion risks we’ll be taking post-Covid (albeit not to the same kind of life-threatening degree), then we don’t know what is.
Another interesting curveball in the established fashion circles came in the form of Pyer Moss, the American label with an activist mantra. Designer Kerby Jean-Raymond’s first haute couture show chose to celebrate the accomplishments of African-American innovators, literally embodying inventions through fantasy-like craftsmanship. Fashion with a message has never looked so liberated – and as fashion at large embraces social responsibility, we can prepare to see plenty more brands advocating for change and inclusion through their work.
Perhaps the ultimate demonstration of optimism came when Valentino closed out the haute couture shows in Venice. Attendees were asked to wear white, a request that made sense once the pieces made their way down the runway – emanating more colour, decadence and vibrancy than we could ever hope for our own wardrobes. This isn’t a new trait for creative director Pierpaolo Piccioli, who’s regarded as one of couture’s most consistently impressive showmen, but resplendent was the word to describe his autumn/winter ‘21/‘22 couture show – the neon colours, floating feathery hats and ball gowns appearing to drift ethereally across their backdrop.
It’s easy to be left in awe of the fashion we’ve seen in recent weeks, but what we can take away is the impact on our future wardrobes – especially in a world dreaming of an optimistic, Covid-free future. Miranda Priestly, Meryl Streep’s formidable fashion editor and industry caricature in the 2006 film The Devil Wears Prada, was right when she said brands at the top dictate the trends that saturate downwards, memorably using the mid-blue shade ‘cerulean’ as an example. By looking at the trends of recent ready-to-wear and couture shows, we can summarise that a future mood is one of brightness, inclusivity and unapologetic excess – so once that day arrives, we may as well begin dressing for it.