What does the modern fashion editor like to wear? By and large, whatever has been designed by Phoebe Philo at Céline. Which, next season, includes the prerequisite stern modernism, in the form of monkish tunics and rive gauche polo-neck dresses but also, for such an ascetically-inclined label, encompasses rich embellishment and a take on luxury usually recognisable to the untrained eye.
The opening sally in Paris was a beautifully boudoir-ish navy-and-white accumulation of embroidered flowers and trailing ribbons on palazzo pants. It had the Céline touch with a ribbed crewneck, but even that had been rendered baroque, by giant peplum cuffs. The same ragged riff continued over dresses and coats. “I want to explore the idea of tattered glamour,” said Philo. “I find glamour quite complex for myself, for Céline. When is glamour authentic for us? The idea of the ‘undone’ was important. So with the embroidery we washed it, then dishevelled it in order to make it feel calmer.”
There was typical Céline zen, in all its deceptive simplicity, like the stunning drawstring-waisted white leather coat, or a navy tunic dress with patchworking of black leather on the breast. Yet there was also a new, enjoyably off-brand Céline, such as the floral 1970s-style coat with fur collar and hem plus velvet ribbons that looked positively girlish. There were outfits so obviously wearable — silk shirts patterned with otters and foxes and, er, the odd ballerina — even verging on cute.
The designer’s genius at navigating fashion’s edge has, on occasion, been a tad tricky for the outsider to fathom, never mind wear. This had something for everyone. Core Céline woman might sport the quilted fitted dresses reminiscent of a fencing jacket, ored poncho flung over her avant-garde shoulders, or a ribbed jumper with built-in conical bra. The rest of us would be happy in one of those shirts, or even a gorgeous silk strappy dress with trapeze skirt, half black, half cream.