Cruise calling

Brands seem to be channeling all their energies on resort shows in terms of scale, logistic and drama. Be it Louis Vuitton’s scuba-inspired outing at Rio, Dior drama at Belnheim Palace or Gucci’s presentation at the hallowed and iconic Westminster Abbey.

Says Ekta Rajani, Fashion Editor, Grazia India, “The Dior Express presentation was beyond brilliant. The Cruise shows are far more charming than the regular shows. The labels put great efforts in hosting these larger-than-life presentations – it’s fantastical, almost like a Tim Burton film. Also, the cruise shows help fight out the fashion fatique.”

Stylist Allia Al Rufai seconds that. “Resort is a huge market for brands and lines have a certain lightness to them. Designers take you on a holiday and give you that experience.”
Stylist Divyak D’Souza says, “I love Michele’s eccentric style and every culture and nationality in the world identifies with it – be it Spain or India. He’s made Gucci truly global and he’s easily the game-changer of the decade. However, I can’t really say how much it’ll impact the sales.”
Blenheim Palace
The Orient Express, or ‘Dioriant’ express as it was soon termed, is run by National Rail, and so it departed from London’s Victoria station some 45 minutes later than scheduled. Once aboard, tables were set with dimly-lit lamps on white tablecloths with Dior embroidered napkins. Guests were treated to a three-course lunch of smoked salmon blinis and capers, followed by volaille farcie aux champignons, and a blackberry and apricot crumble, accompanied by as much Ruinart champagne
Dior Blenheim connect
Christian Dior and Blenheim Palace have a history that dates back to 1954 when the Duchess of Marlborough asked Monsieur Dior (a long-time fan of England, his suits were made on Savile Row) to present his autumn/winter couture collection there in aid of the British Red Cross. A friendship between the palace and the French fashion house was struck, and even after Monsieur Dior’s death in 1957, his successor, Yves Saint Laurent, presented the Dior collection here again in 1958.
Inspiration: English eccentrics
Highlights: The opening look was a zipper blazer paired with a pair of cropped trousers and accented by a scarf running through the buttonholes and a choker. The focus was the waist and the sleeves – poufy exaggerated sleeves and the bar silhouette was reimagned into peplum draped over waist. The show was an homage to the British tradition of hunting and the English country equestrian scenes were stunningly depicted into jacquard, rustic tweeds, crisp poplin shirting. Floral tea length dresses, slip dresses and embellished skirts two-toned platform heels, smokey eyes and slick pulled back hair gold charms of foxes and rabbits dangling from Lady Dior bags
Venue: Cloisters of Westminster Abbey
Vibe: A maximalist vision of an Italian Anglophile. Alessandro Michele delved deep into the archaeologies of British youth culture and street markets.
Highlights: In a scenario where most fashion houses are struggling to find a clear-cut point of view, designer Alessandro Michele has managed to give birth to a distinctive style vocabulary in a very short span of time. The jewel-toned pleated skirts, embellished bomber jackets, taselled baseball caps, ruffled gowns accented with floral collars and pansy prints were seen having a coversation with a skirt in a MacLeod tartan appliquéd with a flaming King Charles spaniel and stone washed denims and Union Jack loafers. A pink astrakhan jacket accented with spaniels stood out whose black inside was embroidered with a tiger.
Michele made a beautiful transition from the Victoriana to punk.
The show had embroidered cushions on everyone’s seats — a thought derived from little parish churches in the English countryside. Once again slithering snakes – now a Michele insignia crawled on the runway – appearing once on a mink coat and later on a sheer black gown. Tartan suits, gowns and overcoats and studded bombers were distinctly British yet presented with an Italian insouciance. Looks like more is more format is what the new Gucci is all about.
Pansy prints rule resort
The statement-making florals were seen on cruise runways of Gucci, Erdem and Christopher Kane. “It’s a big story for spring summer. Pansy prints are fun and light,” says stylist Allia Al Rufai.
Gucci accented a black mink coat with vibrant pansies and at Erdem Erdem Moralioglu reinterpreted them on feminine sheer dresses and coats. Christopher Kane played with the flower by printing printed gazar flower-heads and on cutout leather bags.