It seems that this collection manifested itself just in time as my previouspost on the plaid skirt had manifested itself. I, too, suffer from a large caseof Celine Syndrome - and it seems only to be growing with time. Each collectionshe does is strong - dare I say some of the pre-fall collections stronger thanthe main ones, which leads to another thought that perhaps the use ofcollections, "sub-collections" and the like are making fashionseasons evermore obsolete. But what's more, Philo manages to create thesewonderful continuations simultaneously with transitions amongst the samecollection and different collections.
Philo claimed the collection was both romantic and traditional - had thatnot been mentioned as her theme, such could maybe be evidenced. I, however,would claim that she’s a rare gem thatcontinues to push herself to create looks that can outdo ones from previouscollections. Perhaps traditional in the sense of the immense Amish-look she hasprocured with her simple straw hats, plain colors and longer hemlines. Andromantic in the way that only giant pearl buttons and exaggerated pleatedskirts can procure.
Dissections of thematic relevance aside, the coats were certainly thehighlight of the array of 26 looks. Long, cape-like wool coats with impeccablecuts swept to the ground while some remained cropped and rounded around thebody, as if a Parisian cocoon. From afar, the looks are seamlessly simple,seamlessly elegant; a closer look manifests details that consequently go in tomaking a simple garment. Again, Philo validates another theory in fashion: thesimple things are much harder to execute than the "add, add, add"looks.