The Autumn/Winter Collections of 2008
Looking back at the Autumn/Winter collections of 2008, Venetia Rainey advises on the rising neo-goth trend.
This winter, it’s all in the detail. From feathers to lace; asphyxiating necklines to clinging silhouettes; it’s the finer points of an outfit that will make you stand out through the following months. The most important detail, however is the colour, or rather the lack of it. Black is nothing new in fashion, nor does is it a particularly surprising trend forecast to predict the popularity of dark colours in such traditionally dark months. But this time, black is back with a twist: a neo-gothic twist.
Yves Saint Laurent’s autumn/winter 2008 ready to wear collection encapsulated this new concept perfectly. Austere yet erotic, the sleek, jet-black pudding bowl haircuts complimented the sharply cut swathes of dark fabric, creating a clean but statement gothic look ideal for the season ahead.
It was a look that resonated in the details of many of the other 2008 Autumn/Winter shows. Despite having debuted last spring, for the average person, it is to these shows which we look to for our winter wardrobe. Derek Lam used black lace to create a feminine take on the visor, partially obscuring half of the face with a dominatrix aesthetic, and grungy lace gauntlets adorned the arms of Giambattista Valli’s models. Lace tights, ripped or otherwise, were a staple adopted by many designers, including Rodarte, and their trend-status was further confirmed, or perhaps destroyed, by their unrestrained usage by current “It” girl, Alice Dellal. Without following Dellal’s misjudged example, lace is an easily obtainable fabric to accessorize a simple ponytail or a bare neck.
Dark lace also featured heavily in the Prada collection, covering the feminine form with the heavy but irresistible design. Alexander McQueen used lace liberally to tie together and update his twist on Russian ballerina and peasant clothing. The simultaneous sheerness and opaqueness of lace is part of its allure. Neo-goth is both revealing and disguising; sober and playful; disarming and charged, just like lace. Prada’s beige, orange and powder blue undergarments lightened the mood, displaying controlled explosions of colour in an otherwise sombre affair with striking effect.
In keeping with this seamless juxtaposition of qualities, the most covetable offshoot of this winter trend is the obsession with plumage. Silky black with a bottle green iridescence, or speckled and striped; the most captivating aspect of the new gothic look is the one that flies in the face of conventional ideas of texture and pattern. Feathers were championed by Marchesa to create soft but vampish pieces, and by the grandmother of goth, Comme des Garçons’ Rei Kawakubo, as glorious embellishment for the womanly figure. Mary-Kate Olsen, arguably the grand-daughter of goth, successfully channelled the raven-like spirit of the trend with her Lily et Cie dress and Aliah belt combination.
Shoes involved a bondage take on the high-heeled platform. From Ruffian’s black leather gladiator style, to the patent fetish of Dior and the punky buckles and straps of Givenchy; footwear was all about the darker side of authority. New Look and Topshop sell shoes that tap into this exact aspect of neo-goth, or alternatively, searches on Ebay return a substantial number of rather more hardcore results. Tight ebony leather leggings or trousers are flattering against the exaggerated chunkiness of the foot, and are best worn matte by day, and shiny by night. Givenchy’s chain laden example of urban gothica captured the attitude needed to fully embrace this way of dressing, even if the shape is undesirably thin, whilst Burberry Prorsum’s oversized black beanies added a further unisex, wearable detail to the style sheet.
Loading ...
