On Saturday evening in Monaco, Raf Simons presented the Resort 2013 collection for Christian Dior, which makes it his last first collection for the house. The reason why the show was held in Monaco was kind of an obvious choice, primarily because of Christian Dior’s friendship with (Princess) Grace Kelly (who got married to the prince of Monaco in a Dior gown), and the current connection between Raf Simons and Princess Charlene (who obviously attended the show). But the choice of place also indicated a new time of Dior of which all its future resort collections will be presented abroad.

Resort is compared to previous collections less if not the least strict than Simons has done for the house to result in the opposite a very playful collection. It was almost as though he had incorporated his Antwerp origin of avant garde creation into the design, which especially appeared in asymmetrical dresses as well as in colourfully printed cropped t-shirts. The ultra light fabrics combined with the loosely fitted silhouette and the the truely vibrant colour scheme in colour blocking patterns came together in a sporty and an uttermost playful and evolving approach to Dior but never without loosing its sophistication, ”A symbol of sport and dynamism,” he said.

See the complete collection on Style.com.

In Singapore yesterday on May 9, Karl Lagerfeld showcased the cruise collection of Chanel at an old nutmeg plantation and with lead model Cara Delevigne as well as some guests including Dakota Fanning and Carine Roitfeld just arrived after an 18-hour flight from New York and the Met Ball on Monday. Picking Singapore should not have been a difficult task for the reason that it is one of the fastest growing countries (along with the Asian market) in the world and is where Chanel has got six stores.

There were some subtle references to the culture of the city nonetheless (even though Lagerfeld did not do any research according to himself) and especially the black-and-white woven curtains that inspired the graphic colour scheme of black, white and beige. Inspiration was additionally found in an old photo from picturing a Singaporian fisherman in 1880 wore a jacket that Lagerfeld said could theoretically be a Chanel jacket, with all its intricate detailing. In the appearing in feathers, lace, embellishments and cricket inspired knee pads:  “You don’t get into the details, you reinvent the details,” Lagerfeld said.

See the complete collection on Style.com.

With light blue eye lashes, the models walked down the runaway of Alice McCall spring/summer 2013 in a collection that quite oddly combines futuristic architecture and yet having an expression rhyming with bohemian rhapsody. Because of the complexity of some of the more experimental pieces, it first would have suggested 3d printing, but after some consideration it probably just reveals great handcraft and talent for printing. Those pieces in particular were without question the high point of the show, for it really embodied the vision of botanical and sea life  she had in mind for the collection. There were a palette of navy, orange, oyster gray, peach and metallic, coming together in frills and flares and almost floating metallic fabrics in contrast to the large shoulders that reminisced shells. The flower printed cotton pieces, a black and white striped dress and a pair of tunics on the other hand looked dull and misplaced when appearing in the lot, if she only would have excluded these looks in particular, her vision would have come through all the way.

See the complete collection on Vogue AU.

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The designer that put Australia on the map was Dion Lee after showing his debut collection in 2008, who became known for his futuristic aesthetics which presents itself through meticulous tailoring and technological printing in mostly pastel hues. This season however, the more edgier mood was set by the nighttime to manifest itself in a darker colour scale of blue and black and a bunch of sophisticated silhouettes that lacked his usual sculpturing. It was definitely a more wearable approach to his previous collections, and less architectural experimentation in terms of shapes yet it still included a new cast of graphical prints seen on cocktail dresses. Besides prints, a notable detail was the the cut out patterns that resembled the braided details in the second last look, also a hallmark of his. One could say Dion Lee played his safe card this season, perhaps it is the tough market, but such potential should anyhow not be suppressed.

See the complete collection on Vogue AU.

The fashion week tour continues to Australia, showcasing spring/summer fashion however to be worn next season. The fairly new designer Karla Spectic set the bar high on the second day, presenting an extremely elegant collection yet with an amount of experimentation of up and comers. The best part of the collection was the patchwork negligees of lace and silk that appeared almost as though is floated on the body. There was an array of delicate materials,  although if executed differently, they appeared in every piece of partially transparent dresses and shirts as well as peplum and cropped tops and knee length skirts. The colour scheme was adjusted to the extremes of a chart, with accents of fuschia and blue among the mostly black and white, often mixed or interwoven in a particular print of Jesus you put extra thought into. Was it an ode or a mock to religion? Probably neither, but it did anyhow evoke consideration.

See the complete collection on Style.com.

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By Josefin Arestav

Casting two of the most succesful runway models Hanne Gaby Odiele and Julia Nobic, rising designer Kym Ellery has become one of the most interesting designers of Australia, and buzzed about for that matter, given some kind of legal battle with Myer. Anyhow her collection was said be inspired by the Buffalo 66, evident or not she stayed true to her aesthetics that usually comprises rounded shapes both in terms of shoulders and cuts, paired with flared or short pants. There were certain references to Maison Martin Margiela throughout the collection, especially in how she contrasted opposites (both materials and silhouettes) in kind of awkward way but still making it work. Like how she pieced together matte gray jersey and shiny bronze silk in one unity, as well as matching slick almost floating silk with fur seen above.

See the complete collection on Vogue.au.

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By Josefin Arestav