Long, undone, and often asymmetrical silk dresses in grandma florals paired with swagger and boots. Oversize outerwear worn off the shoulder. Clashing florals and color-blocks. That handsome oversize suiting in drill or jacquard, the topstitched overalls, and the British Expeditionary Force baggy olive jumpsuit were consistent with Trotter’s ongoing exploration of the limits of masculine uniform on behalf of the feminine—as she said, “to make the purposeful decorative.” Against that masculine, she explained after the show, she wanted to design something complementarily feminine in its skewed amplification. Appropriately subversive was the pink bodysuit under the military green; the high-shine coat and dress, trimmed with lace, in a poppy red that ran through this collection; and those floral and color-blocked dresses. Details were left seemingly unresolved: zips undone, hems frayed, collars twisted, and stitches burst as if to suggest work in progress—because when is it not?
JOSEPH modernised women. As the sixties drew to a close, Casablanca-born Joseph Ettedgui imagined a revolution in the way we buy fashion and so created a conceptual boutique to discover new ideas and new designers. Joseph brought Kenzo and Castelbajac to the world’s attention, championed Azzedine Alaïa and Yohji Yamamoto, chose Norman Foster to design a store, and was the first in London to sell Prada. Today, under the creative direction of Louise Trotter, Joseph has become a contemporary designer brand respected worldwide. Each men’s and women’s collection, shown during London Fashion Week, explores the nuances of personality through intimate detail, sartorial techniques and luxurious fabrications.