Peplums may give 80’s flashbacks but designers have updated the look, making the hip poof sexy and soft on the runways.
Cushnie et Ochs
In the current issue of Harper’s Bazaar, editor in chief Glenda Bailey interviews Chris Baily, chief creative officer of Burberry who now celebrates a decade with the British powerhouse. He talks about how he’s managed to transform the company into one that stays true to its heritage and place in British culture while also setting its sights on the future.
GB: What makes working for a British label different?
CB: We’ve got our own DNA. I describe it as disheveled elegance, this beautiful craftsmanship with something a bit broken up. That’s very close to my personal view on design. That’s probably what is different. American fashion is much more glossy.
GB: I’m so impressed with the way Burberry’s introduced a technological sea change in fashion. I mean, I can choose a bag from the runway and have it delivered in eight weeks. How did that come about?
CB: I guess it was instinct. If you’re going to live steam a show, suddenly it’s not the industry you’re inviting. So you can’t say, “We’re inviting you into the show, but, FYI, you’ve got to stick to our industry timetables.”
GB: You did the show in China in April, and you had six models, but holograms for the rest. How did that work?
CB: We had to shoot all the holograms here in London. Then we took over a Beijing TV studio and basically covered the walls and ceilings with screens so you had no idea what was real and what was not. The message was that there is a blurring between the physical and digital. Fashion now is much more than product. It’s about entertainment and people feeling a part of something.
Burberry Prorsum Autumn/Winter 2011 Hologram Runway
Burberry Beijing — Full Show