A noted departure from the masculine and oversized styles of seasons past, AW24 embraces a rarefied ladylike silhouette – hold the stuffy sensibility. Sarah Macken explores how to do elegance à la carte …
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Diana Vreeland once said: “Nothing gives the luxury of pearls. Please keep that in mind.”
The AW24 catwalks have never been so mindful: as one fashion insider noted, they looked straight out of the wardrobe department of Feud: Capote Vs The Swans. On the agenda are skirt suits, hourglass shapes, pussy-bow blouses, knitted twinsets, pillbox hats, car coats and full skirts, with designers from Valentino and Gucci to Prada and Toteme falling on a spectrum from lady-who-lunches to femme fatale. Meanwhile, on Instagram, a new New Look is being described as “glossy”, “elegant” and “sleek”. Think: women of the one per cent (or aspiring to be) who pose in monochrome outfits in Cap Ferrat, sport Lady Dior top-handle bags and have shiny, shiny hair. But: there are questions. Upon writing this, I had to wonder, do I know anyone who is that well-coiffed (or well-bred) IRL? Perhaps, even the word “ladylike” seems like a regression: women fought tooth and nail to escape the confines of tradition. Surely, in 2024, we can come up with something more subversive?
Ironically, while the ladylike look might seem remote – otherworldly, even – experts say it’s driven by demand. “The trend has been celebrated for months already and is poised to set the tone for the rest of the year,” says Libby Page, market director at Net-a-Porter. The luxury online retailer reported a 200 per cent increase in customer searches for ballet flats earlier this year, with souped-up styles – mesh, gems, leopard print (look to heritage brands like Bally for a fresh take) – on the agenda for autumn. Equally, ultra-refined T-bar heels, as seen at Dolce & Gabbana, Dries Van Noten and Ferragamo, are big news. So far, so doable. But what about the clothing? “It’s a wearable trend, especially if you are naturally drawn to the ladylike aesthetic and feel comfortable in it,” says Darren Feeney, head of art direction and creative at Brown Thomas, who explains that at the core of the trend are wardrobe staples. “Great coats, full or pencil skirts and cropped knitwear are all essential components of this look,” he says. Aside from practicality, there’s no denying the look has appeal, va-va-voom even. On the runways, the Carven woman – who sported elbow-length gloves with deconstructed pencil skirts – was contemporary; the Miu Miu woman – all Monica Bellucci black dresses with plunging necklines – certainly owned the look of a lady who power lunches. As Feeney says, it’s a look that emphasises sophistication (remember that?) over shock value. And harks back to one thing: eyewateringly beautiful clothes. I defy anyone viewing Erdem’s AW24 foray – inspired by American-Greek soprano Maria Callas, featuring opera coats with exquisite brocade, nipped-in waists and deliciously draped necklines – not to swoon.
“Maybe what’s most fascinating about the lady is watching her unravel. After all, it’s that friction between poised and rebellious where things get interesting.”
Elsewhere, fine jewellery pieces – fit for an old-money socialite – are being viewed as viral “must-haves” as much as discerning investments. A new, mini version of the iconic Baignoire watch in 18-carat rose gold is for those who want the cachet of Cartier but with a contemporary verve (Kendall Jenner pairs hers with a biker jacket and straight-leg jeans). At the more affordable end of the scale, costume brooches are on the rise. Do as Queen Elizabeth did and pin one through your bra strap, as well as your shirt or jumper. “It will anchor a heavy brooch and stop it falling forwards or migrating down the fabric,” says jeweller Natasha Sherling (www.natashasherling.ie) who advises that rough fabrics, like tweed or mohair, contrast nicely with the matte metallics and sparkle of contemporary jewellery. The wild card of the season, though, is the upswing in “personality hats” as seen on the runway at Altuzarra and Prada and via buzzy New York milliner Gigi Burris (just launched at Net-a-Porter), whose wool-felted Laura hat remixes the traditional pillbox. We say: ditch the classic red lip and wear one with barely there make-up to ensure you look contemporary, not twee.
Maybe what’s most fascinating about the lady is watching her unravel. After all, it’s that friction between poised and rebellious that makes things interesting. At Erdem, hemlines were frayed and models sported headbands (or was it wig tape?) held in place with bobby pins – as if caught in a state of déshabillé (perhaps to reflect the discord in Callas’ later life as a recluse), while at Carven, creative director Louise Trotter staged a micro-uprising against the uptight lady with “misplaced classics” worn by a “free, joyful, outward-looking and independent” woman. There were tomboy blazers juxtaposed with easy-to-wear sheer slip skirts and roomy XL clutches (one model strutted down the runway, leather glove clutched in her hand, perhaps too indolent to put it on). If the modern woman’s prerogative is to choose, maybe the modern way to do ladylike fashion is to (politely) eschew those parts of the look that are no longer fit for purpose. A sort of wearable-womanly hybrid. “Consider subtle nods to the trend that can easily work into your existing wardrobe, like buying a top-handle handbag or a knitted twinset,” says Feeney. Equally, incorporate pieces you already own, then ? nd a vintage treasure or two to bulk out the look. “Really, it’s about using the trend, and the hero items within it, to capture and embrace your own personal style,” Page says. Wise words: the lady would approve. @ohegartysarah
