Haute couture embraces experimentation

What is striking, amidst the whirlwind of themes and motifs – ranging from the plant-like to the historical, from the respectable to the eccentric – is the process-oriented nature of the result: rather than the closed structures that redefine the figure, typical of haute couture, Anderson favours forms that fray and dangle, as if to keep the umbilical cord intact with the roll of fabric, the origin of it all. It is a noteworthy perspective, one which, however, would require more in-depth reflection; a reflection that, for the moment, remains at the stage of an amateurish sketch.

The craftsmanship certainly doesn’t measure up to that of the Dior ateliers. However, the decision to involve Benglis in a range of accessories – bags, jewellery, shoes – is excellent; these are already, without a doubt, established collector’s items.

At Schiaparelli, Daniel Roseberry is stepping up his experimentation with materials, with latex as his material of choice, whilst still retaining the hourglass, hyper-feminine silhouettes that are so popular with customers. The rather eclectic stylistic journey includes references to marine horror – mutant jackets with tentacles – clinical sadomasochism, Charles James and echoes of Antoni Gaudí’s organic architecture. Not everything quite adds up, and the amalgam is at times hard to stomach and camp, but the theatrical urgency finds a more rigorous expression that is much appreciated.

The catwalk debut of Standing Ground confirms the confident, distinctive vision of Michael Stewart, the designer behind this small, niche project, which essentially consists of garments sculpted or draped around the body. The roots of Stewart’s work are clear – Azzedine Alaïa and Charles James – but his choice to interpret everything through a lens of tribal abstraction – with seams and embroidery resembling excisions – creates a new balance: one that certainly needs refining, but is nonetheless compelling.