ports 1961 questioned what modern elegance is
For autumn/winter 19, it was all about “unclassical” pieces.
Imperfection is a word bandied around in fashion quite often. Sometimes it means complete deconstruction of a garment or a wild reimagination of what clothing can be. Other times in can be the small details of an otherwise perfectly-designed item. In the case of Ports 1961 this season, it was the latter. “Unclassical” was the word used to surmise the collection, which meant, traditional pieces with a subtle modernisation. If the modern dresser wants to invest in thoughtful, elevated garments, look no further.
Staple pieces like blazers, two-piece suits, crisp white shirts and trench coats were ever-so-slightly twisted in fit and shape. Shoulders were broadened and outfits were layered to create a silhouette that invoked the idea of “protection” and “revelation in the unwrapping” -- models layered up, if only to invoke the idea of being stripped away. Or, as the the show notes described... “a lady coming undone”.
Creative director Nataša Čagalj and her team didn’t want the Ports 1961 woman to throw out her old wardrobe and start again. Instead they wanted to build on it, and offer a fresh take on the classics. Conventional white shirts were slit to expose the midriff, woollen shirts had the backs removed.
Not a fashion week passes now without a mention of Phoebe Philo’s absence and the designer that might fill it. Victoria Beckham? The new Bottega Veneta? Given Nataša Čagalj’s clear, defined vision for the Canadian luxury house, continually offering sharp tailoring, muted colours and elegant dresses, it could just be Ports 1961.