Now that the commotion surrounding one of the most significant fashion releases in the past decade has subsided, it's time to take a closer look at the collection and understand what Phoebe Philo's new designs represent.
For those unfamiliar with Phoebe Philo, let me introduce you to this British fashion designer. She holds the title of OBE (Officer of the Order of the British Empire) and is a graduate of the esteemed Central Saint Martins, a renowned institution that has fostered many eminent designers, including Alexander McQueen, John Galliano, and Christopher Kane. It's worth noting that these designers embarked on their creative journeys there.
Referring to her early work, a fascinating discovery was made by Rebecca In Europe, a tailor and YouTuber, who unearthed Phoebe Philo's long-lost graduate collection from 1996. In describing the collection, Phoebe had an interesting quote for her collection, "I just wanted to make a pair of trousers that made my arse look good, rather than a pair that represented the Holocaust or something." This quote stands in contrast to later interpretations, such as The Guardian's description in 2001, which attributed "Latino influence and huge gold jewellery" to her work. So, what's the reason for this shift in the way her collection is perceived?
In essence, what Phoebe meant by her somewhat inarticulate statement is quite straightforward but significant, especially in today's context. Speaking in this way can be somewhat detrimental in today's socio-political climate. To me, her words signify that she wanted to create beautiful clothing without overt political or social messages, unlike many of her contemporaries at the time, such as Alexander McQueen with his 1995 "Highland Rape" collection, which depicted the complex relationship between the Jacobite Rebellions of 1745, England, and Scotland. Thanks to @Slipintostyle for this reference. In this sense, Phoebe Philo saw fashion as a form of escape—a realm where not everything had to mirror the harsh realities of our existence.
Fashion, much like any form of art, reflects both society and our aspirations. It serves as a medium for escapism and a canvas for dreams. I believe this is how Phoebe Philo viewed fashion, as an escape from reality. This mindset has its benefits, but it can also be detrimental, particularly in a world influenced by political, religious, and racial biases. While some may have the privilege of escaping these realities, others do not.
Fast forward to September 2013, when The Standard published an article titled "Where are all the black models on our runways?" This article was part of a movement led by Naomi Campbell, Iman, and Bethann Hardison, advocating for racial diversity in the fashion industry. At that time, black models were scarce on runways. In the article, Bethann Hardison noted, "Phoebe Philo [London-born former creative director at Chloë, now at Céline] - she's a cool girl. But Céline has never had a coloured person showing in their collection… every black woman who has money buys her accessories." Iman, on the other hand, firmly stated, "Not me. I make a conscious decision not to buy that stuff."
An examination of Vogue runway data during Phoebe Philo's tenure at Celine, starting from her arrival in 2008 and her first collection in 2009, reveals that from 2010 to 2012, there was only one model of colour, and this was during the Spring/Summer 2013 season. In a 2022 interview on Sway's Universe, Iman recounted an interesting conversation she had with Phoebe Philo, where the designer asked, "Am I going to be forced to use black models?" Iman replied, "No, but there's got to be the right black model for you." This led to Iman asserting, "She has the right to her runway, and I have the right to my pocketbook."
On a larger scale, one could argue that, while not morally right, Phoebe Philo's target audience and demographic were not women of colour. Just as certain luxury items are beyond the reach of some due to their high prices, not everything is meant for everyone.
Phoebe Philo's journey continued as she took the helm at Chloe from 1997 to 2006 under the direction of Stella McCartney. She was appointed Creative Director in 2001, a role she held until her departure. It was during her tenure at Celine, from 2006 to 2017, that her core fan base flourished. She revitalized the brand, propelling it to the forefront of fashion with each new season. Phoebe Philo brought forth effortless minimalism while creating iconic handbag accessories like the trapeze and luggage bag, items that have become synonymous with this era of fashion. As a fashion student, this was the Phoebe Philo era that I first discovered, and I couldn't help but obsess over the luggage tote, even though it was well beyond my budget.
When it comes to affordability and the target audience, it's important to note that both of her previous brands, Chloe and Celine, fall under the luxury category, with price ranges of $340 to $12,250 and $270 to $8,700, respectively (some items from Celine are priced upon request). In contrast, her eponymous brand now offers items ranging from $450 to $19,000, with one item priced upon application. These prices initially surprised some, considering they are 55% higher than Chloe's and 120% higher than Celine's. However, when we consider Phoebe's fans, who have now matured and likely belong to higher tax brackets, the premium price points seem more reasonable.
In terms of style, Philo was known for her signature statement basics but with subtle twists, such as the hand-combed embroidered slice skirt, which was truly remarkable. The high neck scarf top and hand-combed embroidered tailored trousers are other examples of how she infused her signature staples with unique elements. While I personally couldn't help but focus on her accessories, I was initially disappointed. The XL Cabas is a fusion of the trapeze and luggage tote, and her soft square-toe pumps build upon the toe shoes from Celine's Spring/Summer 2013 and the glove shoes from Spring/Summer 2015. The progression in Phoebe Philo's womenswear is evident.
Phoebe Philo has never shied away from expressing her vision. Her designs are for a specific type of woman—strong, independent, understated, confident, and unapologetically herself. Regardless of where you stand on this spectrum, a certain level of FOMO (fear of missing out) has inevitably built up among those who don't resonate with her brand. It's worth pondering whether the stock of her designs was intentionally kept low to expedite sell-outs or whether the collection was simply that highly anticipated.
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