Phoebe Philo set the fashion agenda for the next few seasons with another impeccable collection for Céline, writes Lisa Armstrong.
As the hordes rushed backstage to congratulate Phoebe Philo after her show today (a ritual repeated at all the big houses, but in this case a demonstration of genuine admiration), reluctant press-magnet Philo was joined by her eight-year-old daughter and five-year-old son.
There couldn't have been a more apt image for the next Céline ad campaign. Philo, devoid of make up, her wash 'n' go hair tucked into a navy fisherman's jumper, has become the template for modern working mothers: minimalist, uncontrived, the very picture of chic, low maintenance modernity.
Philo's slightly nervy restraint, and her open admission a few years ago that she found it hard combining a high-powered job with motherhood, strikes a chord with millions of women. Even if they've never heard of her, chances are they've bought a Philo-inspired envelope pouch clutch, a plain, oversized coat, a sloppy jumper, a block-coloured tote. She is without question, the most copied designer in the world right now.
Inevitably the catwalk expression of this low fuss approach is exaggerated to the point of austerity. There is nothing haphazard about the way those fish-tailed, mid-length skirts and their matching tunic tops, in various shades of clotted cream or midnight blue had been 'thrown' together.
Philo has extremely refined taste. She's also a perfectionist. This collection reflected both traits, without looking uptight, so much so that the following items will now set the fashion agenda for the next few seasons: grey felt-wool, A-line tunic dresses with tie-draping (a technique she has so emphatically mastered that it's only when it appears elsewhere, ineptly imitated, that you realise how difficult it must be), impeccably cut pale pink wool, flared coats with giant collars and half belts, clutches, with cut out wrist-holes and block heeled pale grey ankle boots.
Finally for those who think minimalism is the refuge of the timid, there are clashing window-pane checked skirts and jackets and a kitsch fit and flare mink dress - but no party dresses. Daywear is the new cocktail.
Philo's influence is a fascinating vindication of the strong point of view. Her clothes can seem stiff - ARE - stiff. But with each piece comes a promise that form will follow function.
Perhaps that makes Philo the Jonathan Ive of fashion. Nor do these clothes lack luxury: the Céline customer gets the softest leathers and cashmeres.
But even high street versions exert immense appeal. Perhaps we're simply going through an era when looking puritanical seems the right move. Whatever. Philo confessed she was flattered by all the imitation. Is she ever tempted to buy a cheaper knock off of one of her own designs, I asked? "Absolutely. I would if I ever had time to go shopping."
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