It was about “redirectioning the thought process on tradition and classics in masculine British tailoring and taking that volumen and wrapping and cocooning and feminizing by inserting volume and movement,” she told Style.com.
There was nary a pastel in sight, and it’s a bit difficult to imagine McCartney’s usual coterie of socialistas slipping into these clothes. If everyone’s wearing these coats that are twice models’ frames and seem as if they might stand on their own, the streets this fall are going to be very crowded indeed.
There were smart silhouettes in dresses and separates that displayed McCartney’s usual flair for fluidity and movement in what might first appear as masculine tailoring, but wide pinstripes, overly generous proportions in which the figure was lost and a new focus on structure seemed to lose the sexy ease a McCartney collection is known for. Whether this is a new direction or a one-off departure is yet to be seen, but it certainly seems to indicate a change of aesthetic for the house.
