TOPSHOP Unique, Autumn Winter 2013. Concrete dreams.

We were really expecting this Topshop Unique show. Because it was hosted at Tate Modern, in a very mystic dome. And because Topshop is probably one of the most important intermediaries when it comes to transforming the fashion hype to the high-street. Fashion needs to be taught, and Topshop never forgets how popular its brand and shops need to be.

Let’s talk about pop then; the collection we’ve seen today is a mash-up between iconic British work wear pieces and the integration of 90s pop-culture: sinusoidal patterns, half-baroque motifs, disco party girls.As Topshop explains: “prints, based on traditional British carpets and Victorian pub wallpapers, are digitized, super-sized and fused onto knits and bonded cloths“. It smells like London spirit.

© Laurent Francois

A modern vision of what female power is has been presented: a girl who can also wear a 24h bag; a girl who can be sexy with pants; a girl who’s aware of Asian cultures. Mimi Xu was playing Mélanie Pain’s cover of Girls and Boys. And we were probably falling in love again.

© Laurent Francois

And Cara Delevingne, this sweet-trash modern icon, was probably the right pick for Topshop. We were about to go to Brick Lane after with her, just so you know how coherent it was, while Jourdan Dunn was taking the lead with rest of the crowd.

© Laurent Francois

Well, we had some doubts on some items, which were probably more déjà-vu or less intense compared to the Unique statement. But after all, H&M pretends to be innovative with some outdated Maison Martin Margiela picks. At least, it spreads some standards to the general public and gives some inspirations for those of us who have a vintage wardrobe.

© Laurent Francois

But Topshop’s nostalgia hasn’t led us to melancholia; not at all. With concerns that dreams need to be fulfilled, we’ll take an asymmetric path to realize them. And that’s probably the best thing with Topshop, which explains its success: it doesn’t oversell ideas; it just talks about us.

© Laurent Francois

 

 

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