Posted on: March 9, 2015 Posted by: israr Comments: 0
Celine's Phoebe Philo fall/winter 2015 Collection

The fact that yesterday was international women’s day has escaped any member of the public packed into the spectacle of Celine’s Phoebe Philo fall/winter 2015. Why? Because during his tenure of five years at the label, Philo has truly transformed the way modern women dress. She has not done anything particularly new – there was no revolution in cut or shaped. Nonetheless, how Philo assembles its collections had a seismic impact. Couture dutifully follows in its wake; High Street copy slavishly.

Celine's Phoebe Philo fall/winter 2015 Collection
pre fall 2015 women collection by celine at paris fashion week-19

There’s something about the work of Philo:

There’s something about the work of Philo who gets his teeth in the heart of what women want to wear anytime. In the past, which was rigorous, prescriptive even? Philo set out at a glance to be worn down to the exhibit — “reductionist” was his word, with precision, suggesting a puritanical elimination of formalism from abroad. It is facilitated upward recently-, it is not tangent to point out that she gave birth to her third child in 2012, as it seems to have dropped a bit since then. His cotton is less starchy, it’s less pressed folds. There is something endearing will sting on the folds and lived in feeling that was emerging at Celine. It feels more human, tenderer.

Fluffiest of curveballs :

The latest collection was the fluffiest of curveballs of philosophy to this day. At the home of relaxed minimalism, silk blouses came decorated with sketched otters and foxes, while ladylike wrap coats have been lavished with wide fur collars. When his previous collections have dazzled with their crisp symmetrical lines, the Bewitched with fabrics bed roomy, with clothes that seemed about to burst with tight buttons. Coat dresses silk pale quilted comforter were undone to show an overview of the shoulder, camisole dresses and petticoat forms were tangled and layered, like an undid bed.

Tender Collection:

Tender was the word pink in mind when I watch this show, with its caresses but not taunt knits, coats satin padded with their sleeves hanging, stop button straps and loosely tied ribbons, mostly cancelled and floating in the breeze. There was a quality award-winning by the skin of the neck, oddly British, in mash-up lace dresses, slightly dog-eared, teamed with plimsoles slip-on.

Sweet and tangy Collection:

Undesirable sounds? It was not. Oddly. Although Philo Celine collections do not set your heart beating as a critic – which, to be frank, his two performances past is not for me – there’s always a desire of had-to-have-it, which is palpable. It floats in the air, sweet and tangy. He was there for this show, in the oddest of places, lingering around the raffia with moved diamond brooches, bag bags, shoes knits crisp wide-cut.

Universal Collection:

Rather than its previous modes teaching of dress, with this offer of free-for-all of fall free, fashionable mashed and bashed and mauled, thrown with wild abandon, Philo seemed to be encouraging customers and critics withdraw its tote bags mix and match fabrics, what you want, rather than what you are told to. There is a confidence prevailing in the chaos that philo proposed that. And as the chaos theory – where the beat of a butterfly’s wings in the Brazil raises a tornado in Texas – women will feel the effect of this, universally, come winter.

Stylish Collection:

Due to the uncanny knack of Philo to detect the twists and turns in the plot of mode before they occur, the intensely private designer was besieged backstage after each show by a crowd in fashion who want the answer to the question of what women should wear then and why. But Philo, who was wearing a calf-length black skirt and white sneakers with a sweater of the rear of a plane in corduroy chocolate brown wool, opened at the rear and loosely attached with straps style cream cotton apron, had more questions than answers.

“It’s the fine line between sexuality and sensuality,” she says. “What I try to do is to explore that, and I use it as a way to find out about me.” I am interested in glamour, but I have a lot of questions about this: when is it too much, when is that not enough? When it is girly, when is it female? How can it be authentic with the way we work at Céline?”

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