Toga party
Designers give us the right to bare arms.
By Sarah Casselman
Photography by Peter Stigter.
This spring, haute heavyweights like Versace, Yves Saint Laurent, Gucci and Valentino gave us the cold shoulder with their various interpretations of the asymmetrical neckline. A trend continuing from last season, these one-shouldered wonders—including Dsquared’s feathered mini-frocks, Proenza Schouler’s body-conscious interpretations and Andrew Gn’s lemon-yellow bow-tied bubble—featured a statuesque subcategory of Greco-Roman–inspired, drapey, ethereal sculptures.
Characterized by relaxed silhouettes and easy fluidity, this trip back into fashion antiquity marks a new era of extreme modernity in dressing. But with shapes so basic, the design vehicles that propel fashion forward lie in the fabric choices, clever cut-outs and soft, languid layers. Designers like Phillip Lim, Alberta Ferretti and Salvatore Ferragamo are sparking this subtle Sparta revival, with their toga-inspired mini- and maxi dresses in palettes of sun-bleached colour, worn with gladiator sandals.
This certainly isn’t the first time we’ve seen Greek- and Roman-flavoured fashion, and likely not the last. In 1907, Mariano Fortuny liberated women from the restrictions of Victorianism and wrapped them up in his Delphos gowns—batwing-sleeved works of finely pleated perfection. However, it wasn’t until the 1930s that classicism made a comeback based on Parisians Madame Grès’ and Madeleine Vionnet’s fluid, one-shouldered frocks, which clung to and spiralled around the body. Recent catwalk looks, like Lanvin’s drapey daywear, Marchesa’s statuesque gowns and Erin Fetherston’s metallic mini-togas, conjure the same studied simplicity. Which just goes to show that no matter what the century or civilization, goddess dressing continues to be placed on a pedestal to be admired.
Shown: ERIN FETHERSTON Spring 2008.
First published in FASHION Magazine April 2008
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