The fashion industry is ever-evolving and becoming more fast-paced by the day. Designers feel the constant pressure to churn out more and more collections to keep eager consumers happy in a world where demand is sky high, posing the question of how truly sustainable this is both for designers themselves and us, as consumers, to keep up with. One element that largely contributes to this overwhelming pressure is the presence and increasing prominence of Cruise and Resort collections.

“Sometimes a 15-minute catwalk show is all one needs to be transported to a different world.”

The majority of fashion houses produce biannual Autumn/Winter and Spring/Summer collections, with some higher-end luxury brands also producing two additional haute couture ones too. However several of these high-end labels also now produce Cruise and Resort collections, which have become something of a phenomenon. Originally conceived as collections made between the main seasons and dedicated to travel and leisure, Cruise and Resort collections have in the past generally been targeted at wealthier customers who spend a considerable amount of time abroad or on holiday, hence the naming. But, as of late, the production of these collections has become rather a grand spectacle, with brands jetting off to a myriad of exotic locations and creating a unique experience for their show-goers, contrasting to the usual catwalk show.

This season certainly proved that the idea of Cruise and Resort collections is still flourishing and becoming increasingly popular. The Dior Cruise 2018 collection is the first of the kind to have been created under the creative direction of Maria Grazia Chiuri. The show itself was held in Calabasas, California, known for being the stomping ground of the Kardashians, yet the set was furnished like something out of an Old Hollywood movie in the midst of a desert, with vintage movie trailers and carefully scattered tents to house the audience. Grazia Chiuri, when discussing location choice and the collection, said that LA was a personal favourite of Christian Dior himself, and that when we think of Los Angeles, we think of Hollywood and film stars, yet there is also a notion that people also feel close to nature here, once one escapes from the bubble of the city. This concept shone through in the collection, which primarily consisted of loose silhouettes in earthy tones, cowboy hats, fringing, gingham and delicate furs. There was, however, evidence that Grazia Chiuri still hadn’t quite found her feet at Dior, with much of the collection retaining elements of her designs from her time at Valentino.

For Louis Vuitton, Nicholas Ghesquière took us to the Miho Museum in Japan, a show heavily anticipated perhaps due to the recent announcement of the brand’s collaboration with streetwear label, Supreme. For this collection, Ghesquière was inspired by the work of Kansai Yamamoto, most well-known for dressing David Bowie for his Ziggy Stardust Tour, and these Japanese influences certainly played out in the clothes. The collection also featured typical touches of Ghesquière, with impeccable tailoring, leather, suede, animal prints and splashes of metallic hues. While location is not absolutely imperative to the display of the collection, and certainly should not distract from the clothes themselves, this was an example of where Resort collections can thrive; the setting not only enhanced the overall experience of the show, but it allowed the audience an insight into the designer’s mind and a chance to share in their vision.

Met Gala 2017: An avant-garde affair

Chanel, on the other hand, which has previously shown its Cruise/Resort collections in Cuba and South Korea, chose to physically remain in its native Paris, but visually to transport us back to Ancient Greece. Their Cruise 2018 collection seemed far more relaxed than Chanel’s recent, futuristic-inspired pieces featuring rockets and aeroplanes, with Karl Lagerfeld suggesting this time instead “going back to move forward”. This was translated through the clothes; Lagerfeld took Chanel’s infamous tweed and morphed it into faux-togas and mini-dresses, some of which boasted geometric patterns reminiscent of Greek pottery, while each look was finished with a pair of lace-up ‘Greek’ sandals. Lagerfeld proved that location need not be the defining feature of a Resort collection, and that sometimes a 15-minute catwalk show is all one needs to be transported to a different world