You know what is going to be big come July (or whichever month the autumn/winter 2019 collections will drop)? Culottes. Seriously, culottes. Hedi Slimane has revived for Celine a garment that has for decades laid low, cery low. This is not to be confused with skorts. Mr Slimane’s are clearly “split skirts”—bifurcated, if you must get technical, or trousers cut to resemble a skirt, something that would remind those old enough the original Charlie’s Angels. Or, in our mind—imagination, really, Miuccia Bianchi Prada going to a political science class at the University of Milan.
For his second Celine women’s collection, Mr Slimane seems determined to prove to his detractors that he can do more than skinny or body-hugging. As reported in the media, Mr Slimane took a peek into the Celine archive. And this was the output—not a re-imagination, not a re-construct, but a facsimile, as the clothes appear to us. Mr Slimane has never had any use for irony or twist; he won’t either now. This could have leapt out of the pages of How to Dress like a Frenchwoman, if it was published in 1975.
To be honest, we don’t know what Celine really looked like in the ’70s (except for some old ads we found online), when it rose in popularity. Founded in 1945 by Céline Vipiana as a made-to-measure children’s shoe store, it became, by the ’60s, a sort of Biba of the time, but more atas. The brand slowly projected the cool it was known for in the mid-’70s. Then, Ms Vipiana was still designing the line and she continued to do so until her death in 1997, aged 84. When LVMH took Céline into its fold and Michael Kors became the first designer to revive the brand, Céline was destined to be Celine, a hugely global French brand towards 2020… and much talked about, but not because of its content. Phoebe Philo was a minor extended distraction. Ironically, Mr Slimane’s approach seems to go back full circle, to where Mr Kors started.
How Mr Slimane changed the direction of the brand when he came on board and how he disappointed many is, until today, still discussed. The aesthetical shift now, we sense, is less about reacting to criticism than to once again reach back, a habit that had affected every fashion house that Mr Slimane steered. It appears to us that when he looked at the old output of Céline, thought to be those of the mid-’70s, he was really casting his mind to the past—as he did at Saint Laurent—to rehash. How else does one explain the obsession with pussy bows?
Mr Slimane’s Celine, therefore, seems to be joining the dots to reveal to us a picture that explicitly say FLASHBACK. Again, we can’t be sure this is close to Celine of yore (was Ms Vipiana mad about culottes?), but it does reflect an era. Some dresses looked like what Karl Lagerfeld did for Chloe in the ’70s. Or, perhaps what Alessandro Michele has been doing for Gucci, only Mr Slimane’s are better fitted. Some blouses looked like his take of what YSL muse Loulou de la Falaise might have worn back in the day, and already seen in Saint Laurent, circa 2013. And those below-the-knee schoolteacher skirts—your grandmother would know. Or, Diane Von Furstenburg. Hedi Slimane would be a worthy contestant against Marc Jacobs for the Look Back King of the Year.
Or course, Mr Slimane could not totally abandon skinny—he built a career on them pencil silhouettes. So, some pants are still reed-thin, the denim jeans too. But he did abandon baring skin. This is modest dressing! More? If you look closely, how many silhouettes are there? Three, maybe? Will this be the new merchandising norm? We had to again remind ourselves that Mr Slimane is not a designer like John Galliano, nor Demna Gvasalia, nor JW Anderson. Karl Lagerfeld, maybe. Frankly, we thought the Celine autumn/winter 2019 show was Butterick come alive.
Photos: (top) Celine/(runway) indigital.tv