(Gauchere SS 27, wwd.com)
When there is so little to discuss, there is certainly a reason to stay concise. Not that there was a lack of runway shows or “fashion” during the Spring 2027 season, but rather the designs felt facile and the overall approach to the shows was very insipid (in my humble opinion).
For awareness, my review will focus on the “fashion” I have seen and not the ridiculous dancing robots (among other absurd gimmicks) that were somehow thrown into the mix.
Let us begin:
1 – Céline, Disappointment
(Celine SS 2027, elle.com)
My ability to watch runway shows and engage with new collections is limited to what is made available online (unfortunately). This prevents me from being able to experience the (what appears to be noisy) environment at and around the shows, and to see the garments up close. However, something which is easily available online is the immediate public reaction.
I was astounded (truly) by the prolific amount of positive comments regarding this mediocre collection.
Why did I decide to watch the collection video for Céline? Great question! To keep it short, I have to admit that my favorite “womenswear” designs were created by Phoebe Philo for Céline. After her departure, Hedi Slimane became the creative director for this historic maison. And, although I do not like the garments he designed for Céline, Hedi’s designs for Dior Homme and Yves Saint Laurent Rive Gauche are some of my favorite “menswear” designs. This maison holds a certain history that keeps my interest alive on a personal level.
Michael Rider was appointed as the artistic director in 2024 after Hedi’s departure. However, he had also worked for Phoebe Philo during her tenure at Céline. This made me very interested in finding out what Rider could create for Céline after having been a witness to the brand’s greatest years.
Yet, I have been disappointed season-after-season since his appointment. Matthew Velasco (from Elle) said that the “lineup had something for everyone”, which I think is exactly the issue. Phoebe’s designs were experimental and challenging, and Hedi’s were very directional. Michael’s designs are incohesive and unexclusive. As in his previous collections, there was absolutely nothing that I could have identified as being a piece from the Céline maison. After all of the incredible collections this maison has lent us, Michael’s thus far have left me completely disillusioned.
2 – Continuity, Rick Owens
(Rick Owens SS 27, rickowens.eu)
Achieving continuity in terms of material quality and design excellence becomes increasingly difficult as a brand grows. This is because the need to fulfill orders and (for some) to please a wider audience means the brand needs to prioritize efficiency and aim to be anodyne.
Although Rick Owens’ maison has grown exponentially since the late 90s, he has been able to achieve something only an independent brand could do – become efficient in terms of production without compromising the values or the substance of the maison. This latest collection exemplifies this, as Rick is entering now into his 2nd collaboration with Adidas (they had previously partnered over a few years starting around 2013), and continues to release a few pairs of boots every season in collaboration with Dr. Martens. However, despite the expansion of orders he needs to fulfill Rick continues to challenge his audience with concepts that are often viewed with controversy. This season, he celebrated his use of the pentagram as a symbol in opposition to judgemental condemnation, and nobody could have documented his approach better than Rick himself:
“I HAVE BEEN USING PENTAGRAMS AS MY LITTLE PROTEST AGAINST JUDGMENTAL CONDEMNATION AND INTOLERANCE. WE CAN SEE THAT IT CAN BE HUMAN NATURE TO SUPERSTITIOUSLY DEMONIZE OTHERNESS.”
As much as I love Rick’s work, and as much as I admire the intellectual approach to design he employs, I must admit this show was not my favorite. The silhouette composed of a drapey body being crowned with a structured collar has been a feature repeated over the last several collections. And not to say there weren’t elements that I can expressly appreciate, such as the “Millefoglie” jackets which were crafted from thousands of separate and recycled nylon tulle circles (those were closer to the craft of sculpture rather than fashion design). But, in this case the continuity of the repeated silhouettes is definitely somethings which was not very inspiring. Also (and very important to note this is my personal opinion), every shoe displayed during this runway presentation was hideous. I say this as someone with several pairs of Rick Owens shoes, and who actively sources and appreciates those he has created.
3 – Hope, Gauchere
(Gauchere SS 27, wwd.com)
When I think about minimalism, my consideration is less on the side of how much can be removed and far more on the side of what is essetintial that is present. I think modern commutes demand practicality. Whether an individual has to fly once or twice a year for meetings or leisure, or whether one requires the daily use of a subway system to get around a city, discomfort is to be expected. Layers that are easy to throw on and remove, pockets that can hold a granola bar in addition to our phone and our documents, and weather and grime resistant materials that can keep us clean and dry are all qualities that can make our life a lot easier given the challenges of modern transport.
Marie-Christine Statz is the founder and creative director at Gauchere, a maison which produced my favorite collection of the season. Garments certainly take a minimalist approach, but remain quietly subversive and versatile by enveloping the wearer without restriction and by lending them the practicality that only utilitarian clothing can provide. Although there was less tailoring during the SS 27 show than in previous collections, there were plenty of sharp looks that included shirt dresses, and a wide variety of trousers that would look great at the local café and besides a standing desk at a tech firm.
Where other maisons seemed to struggle identifying their ethos, Gauchere has been able to show confident looks and individual garments season after season. These are not clothes designed for a specific person, they are functional garments that can be incorporated into a wardrobe with a voice of their own to enhance the life of the wearer.
Printemps-été outerwear is some of my favorite to explore because it is also the most challenging to execute. Pieces have to be light and breathable under a climate changed sky, and also moisture wicking at the very least to resist modern storms. The outerwear shown in this collection had all these elements and more. I say the following with a lot of admiration – this collection reminded me of Helmut Lang in the late 90s, creating subversive garments that didn’t need to shout and yet stood in a league of their own among a sea of confused monotony. Seeing this collection gave me hope!