Céline PFW S/S 15 Showlist

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Taylor Nicole (O) (excl.)
Ondria Hardin
Alexandra Elizabeth
Julie Hoomans
Anna Roos van Wijngaarden
Cristina Piccone
Ola Munik
Sunniva Wahl
Sabina Lobova
Julia Bergshoeff
Issa Lish
Yana van Ginneken
Mina Cvetkovic
Georgia Hilmer
Ysaunny Brito
Julia Nobis
Ine Neefs
Vanessa Moody
Amanda Murphy
Manon Deplanque
Sophia Nilsson (excl.)
?
Marie Piovesan
Katya Grigorieva
Aneta Pajak
Julia Hafstrom
Ana Buljevic
Irina Liss
Natalie Westling
Ilvie Wittek
Mica Arganaraz
Maartje Verhoef
Alexandra Elizabeth #2
Phillipa Hemphrey
Lexi Boling
Binx Walton
Anastasiia Gorshenina
Malou Høgenhaven
Ola Munik #2 (C)
 

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Super Star
Joined
Jan 25, 2012
Posts
2,318
Karma
1,427
Taylor Nicole

Ondria Hardin

Alexandra Elizabeth

Julie Hoomans

Anna Roos van Wijngaarden

Cristina Piccone

Ola Munik

Sunniva Wahl

Sabina Lobova

Julia Bergshoeff

Issa Lish
 

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Super Star
Joined
Jan 25, 2012
Posts
2,318
Karma
1,427
Yana van Ginneken

Mina Cvetkovic

Georgia Hilmer

Ysaunny Brito

Julia Nobis

Ine Neefs

Vanessa Moody

Amanda Murphy

Manon Deplanque

Sophia Nilsson

?
 

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Jan 25, 2012
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Marie Piovesan

Kate Grigorieva

Aneta Pajak

Julia Hafstrom

Ana Buljevic

Irina Liss

Natalie Westling

Ilvie Wittek

Mica Arganaraz

Maartje Verhoef

Alexandra Elizabeth #2

Phillipa Hemphrey

Lexi Boling

Binx Walton

Anastasiia Gorshenina

Malou Høgenhaven

Ola Munik #2
 

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Review Style.com

"This Woman's Work" by Kate Bush opened the Céline show this afternoon. "She's with me today, I hope," said Phoebe Philo, wearing a T-shirt from Bush's recent 22-night session in London. "I was incredibly inspired by that song. I couldn't believe how vulnerable it was. And being vulnerable is an incredibly important part of being creative."

Vulnerability for Philo this season meant embracing uncertainty. "In a way, I was open to everything—no preconceived ideas, very little of me saying no." The collection was almost a stream of consciousness, a random portmanteau of moods and emotions from the very first outfit: a utilitarian top paired with a fitted knit skirt, provocatively slit front and back, that dissolved into a mass of fringing. Work and play in one artful package. It set the tone for what followed.

It was fascinating to watch the way in which shapes as practical as a coat, a tunic, or a shift were unhinged by lacquered inserts, cutouts, streamers of fabric. The shoes were flat, elasticized, functional. If the topstitching also emphasized utility, the belts of string weighted with a metal something that could be either a padlock or a bell pointed toward mystery. Like the ceramic hand that clutched a throat, or the ceramic pair of lips that dangled in pendant form.

The floral prints were new—a bourgeois insertion into Céline's implacable cool. A risk, perhaps. But, as Philo pointed out, edit certainty from the equation and the connection between creativity and risk becomes even more graphic. That connection—raw, dynamic—is the same extraordinary one Philo has made with women all over the world. What is a woman's work? "Being a mother, a sister, a friend, a fashion designer," she said. "A huge amount of different things, all of them fulfilling, all of them equally important."