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Vol.06  Issue 09/05, 25.09.2006

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Text : igedo. Photos : Copyright © 2006, fashionfreak. All rights reserved.


 German Version



Women Trends Fall/Winter 2006

05. till 07. February 2006











Jose Benedi

Jose Benedi






Annette Goertz

Annette Goertz










"New Look" fashion. Unveiled at CPD DÜSSELDORF is a self-assured change in style direction, triggered by the new awareness for haute couture / skilled handiwork plus a feel for the individual in general. A new sense of "sobriety" is spreading with clerical and traditional touches. It is not yet a question of "either-or" but rather a shift in the weighting in the "grand framework" of historic reminiscences. Which leaves plenty of room for individual styles: adventurous like in the days of the Tsars, flamboyant like in the Shanghai of the 1920s or snug and cosy like with Miss Marple. Though the haute couture revival is also pushing essentials increasingly into the foreground with fine materials and new styles and cuts.

CPD DÜSSELDORF defined for the fall/winter season five themes :

St. Petersburg 1900 - Paris 1910 - Shanghai 1920 - London 1950 - New York 1960

St. Petersburg 1900
Tsarist uniforms rub shoulders with romantic trimmings and contemporary worker and pilot looks.

A look that is as turbulent as the time it draws on for its inspirations because of the contradictions it conjures up: the days of the Tsars under Nicholas II. At times austere and military with glitzy button-up double-breasted fronts with a uniform look and at others elegant and fragile like the evening society gowns made in delicate fabrics with fine lace, little frills and bows. Jackets and coats in sophisticated cloth, compact cotton or faded velvet are revitalised with stand-up and wide lapel collars, patch pockets, bar tacks, waistbands and trims. As Spencers or knee-length military A-line coats they accompany swingy skirts or narrow trousers worn with high boots. Cargos, fur-trimmed bomber jackets and parka styles provide army themes from the here-and-now. Matt metal buttons, braids, insignia and ornamental trimming ribbons upgrade the feel without being too ostentatious. Flattering blouses with stand-up collars and decorative trimmings are reminiscent of the reign of Edward VII while high-necked black evening dresses are evocative the days of Anna Karenina. Dark colours dominate the near-plain theme: white and cream freshen up night blue, black, anthracite and khaki tones.

Paris 1910
The haute couture revival is enriched with new looser-cut styles and lines that also feature colour too.

These were the carefree days of luxury when the French capital celebrated its new shooting star in the first decade of the 20th century - the fashion designer and painter Paul Poiret. He liberated women from the corset and made straight-cut dresses with high-sitting waists a feature of contemporary painting. He blended art with elements of the Far East producing theatrical creations and was considered a precursor of the Art Déco movement. He was followed in the 1920s by Coco Chanel who made a further contribution to women's emancipation perfectly combining jumpers and jerseys, the little black dress and fake gems. Haute couture roots like these are picked up on again by the young fashion avant-garde of today. Translated into a light-hearted style this generates a new language of form with no need for gaudy colours. It is in particular the X-line of Christian Dior establishing his new look, the dramatic collars and capes of the likes of Cristobal Balenciaga and the generous widths of Christian Lacroix - with tulip, balloon and concertina skirts - that also give business wear back its skilled tailoring and wide variety.

Shanghai 1920
A glamorous jet-set style blends with rich, ethnic styles and cheerful colours and patterns.

In the 1920s this metropolis was considered the "Paris of the Far East". Rubbing shoulders here amongst the chic Art Déco hotels and Chinese opium dens was a colourful mix of nationalities who combined western lifestyle with oriental folklore. Today, the traditional costumes of the Balkan peoples and their Asian neighbours provide highly colourful flowers and delicate arabesques as a basis for prints and embroidery. Decorative trimmings like pompoms and zigzag ribbons or woollen braids are found on the hems of frilly and bulked skirts and/or on the collars and hems of enveloping kimono coats. From the peoples of the steppes of Mongolia come patina-coated metal buttons or buckles, sheepskin suede, oiled leather and fur classics like Astrakhan, lynx and fox, inspiring luxurious or rustically styled outdoor jackets. Asian silks are the precursors of shimmering high-tech fabrics used for quilted jackets and are also upgraded thanks to embroidery and embossed details. With loving attention to fine detail lively colours are used as decoration, sometimes on a black background. Generally, colours focus on leather and brown tones, rich red and berry tones, saffron and moss green.

London 1950
Traditional fabrics and nostalgic styles pay homage to British elegance.

This theme stands for fine British fashion tradition with a touch of Sherlock Holmes and Miss Marple for everyone. Here homage is paid to timeless classics and, in particular, to wool. Smudged checks, Tweeds, Glen checks, herringbones and jacquards with tapestry motifs spill out into the outdoor and casual segments. These are joined by cord and velvet, coated outdoor cottons, fulled fabrics and flat furs. Cosy casuals combine here with a tasteful city look featuring little suits consisting of hip-length jackets, swingy skirts and floral blouses. These are teamed with V-neck pullovers, pullunders and bolero waistcoats which toy with openwork effects, mini graphic patterns, Argyle checks or Fair Isle borders. Capes, cape-style coats and duffel coats have wide repercussions while hunting motifs decorate and poke fun. Silky velvet skirts or jackets, shawls and loose-fitting slip-on dresses make references to the bohemian Biba look while cheeky knickerbockers or casual pleated trousers together with shirt blouses, waistcoats, braces and flat caps conjure up memories of the pre-industrial age. Warm autumn colours, berry tones, taupe and cool green dominate here.

New York 1960
Black and white are the colour vehicles for geometric design. A young and rebellious Lolita look.

The American metropolis was young and hip in the early 1960s and what it produced was cheeky, revolutionary and different. The art scene surrounding the graphic artist and filmmaker Andy Warhol flourished and the predominant feminine haute couture elegance was revolutionised by street and club culture from the underground. Sober, geometric forms determine the dress line and black and white contrasts characterise the colour scheme. This produces a reduced colour look as if filmed through the lens of Andy Warhol. It provocatively emphasises form - like back in those days when the art scene was still looking for a new mode of expression from the underground. Boxy, oversized knitted garments, black and white ring stripes, coats in a straight H-line, cassock-like dresses and mini-skirts issue a clear rejection of the curvy line. The new Lolitas wear square-shaped buckled shoes and oversized buttons. They cut their hair short and follow in Twiggy's footsteps.


More Trend Reports :
1101st GDS - Shoe Trends Fall/Winter 2006
101st GDS - Shoe ABC Fall/Winter 2006
ILM Bag Trends F/W 2006
SIL Lingerie Trends F/W 2006

To the Fashion Fair Calendar 2006
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 Copyright © 2006, fashionfreak. All rights reserved.   ISSN 1619-5779