Lovechild 1979, no doubt get the award for best location and senery this SS season. Located in the lush garden behind Glyptoteket, Anne-Dorthe Larsen (creative director) created the perfect midsummer dream. Entering the garden, surrounded by equal enthusiasts in a sea of flowers in perfect bloom (and a glas of rosé in your hand), you knew this would be a good show. As more and more of the fashionable crowd arrives you feel the potential devastating drops of rain against you cheek. Catastrophe immediately avoids when the prepared crew of Lovechild starts handing out specially designed umbrellas, coherent with the collection (soon to take place). Over the top enthusiastic over the show soon to begin (and the umbrella everyone just got), as if planned, the rain stops and the rays of sun pierce the dark clouds, creating the most dramatic effect Larsen could have hoped for.
The collection itself kept the florals theme. Elegant, femenine looks walked down the runway. Silky skirts and dresses turned into just as silky suits. Soft pastels in in lilac, yellow and dusty rose melted together in a dreamy watercolor print, decorating skirts and dresses. A more graphic, small patterned print, consisting of flowers and hearts, even chunky letters forming the word “lovechild” added some humor and playful contrast. Especially the all suit looks decorated with a tiny flower print, could be interpreted as a cocky statement when mixing the typical girly print with a “male” silhouette.
Larsen took you for a trip, not to the 90´s that so many other designers did this season but to the 50´s. Accented waists, knee-length skirts and scarfs around the neck gave the girls a classy, dressy look true for a dame during the 1950´s.
A lot of shows during this seasons CPHFW have stated that they have got inspired by the strong, confident woman (maybe a must in todays society?) and Lovechild 1979 is no exception. Yet when looking at the show, over the top filled with flowers, heart printed dresses and all over petiteness, it looks like a stereotypical dream of a little girl (something Lovechild have got some critique for). How does this fit together? Well, as I see it, who decided that women can only be strong and powerful in typical male aesthetics? When mainly reference to a woman as powerful when wearing clothes associated with the male symbol, isn´t that counterproductive when it comes to the debate about male/female? In the light of this, Larsen is completly right when calling her girls strong, confident women. As in the post about the House of Dagmar´s SS17 collection, where the same theme is mentioned, maybe a new way of framing “powerful” free from connotations of either female or male, is in its place and that these designers is taking a small step in that direction. With that said, Lovechild 1979´s SS17 collection is filed with, strong, empowered women wearing floral printed dresses and that is not a contradiction.
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