Clare Waight Keller Offers Escapism for Her Final Chloé Collection

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Instead of confronting politics head-on like some of her peers, Clare Waight Keller opted for escapsim at Chloé for Fall/Winter 2017, her final collection after six years at the helm.

Instead of confronting politics head-on like some of her peers, Clare Waight Keller opted for escapsim at Chloé for Fall/Winter 2017, her final collection after six years at the helm. Show notes promised “an edgy dream world of psychedelic optimism,” and Waight Keller delivered on that message, minus the edge. Her lovely commercial collection featured soporific prints and baby-doll dresses that recalled London’s Swinging 60s, The Beatles’ “Yellow Submarine”, and Lewis Carroll’s “Alice in Wonderland”.

Surely the show’s soundtrack bearing Human League’s plaintive pop tune “Don’t You Want Me” related more to the desirability of the clothes, the accessories, and the Chloé Girl attitude than it did to Waight Keller’s feelings about her departure. Unless she’s starting to have separation anxiety or regrets, we’re pretty sure you’re not supposed to read more into that.

Chloé FallWinter 2017
Photo: Courtesy of WGSN

Waight Keller has fashioned Chloé into one of the most coveted French brands in the world, relying on the alluring flou of breezy bohemian dresses, hip track suits, and tough leather moto jackets. Her touch will certainly be missed by Chloé’s legions of obsessive fans. However, before she checked out for good, she made sure to provide the next round of accessories every “It” girl will soon have in her possession: block-heeled, T-strap Mary Janes with an O-ring clasp, and a new round bracelet bag similar to the popular ‘Nile’ style from last season.

Waight Keller’s touch will certainly be missed by Chloé’s legions of obsessive fans.

Smocked baby-doll dresses bore prints featuring psychedelic classics like paisley, poppies, and mushrooms. Fuzzy Teddy jackets, luxe fur coats, cracked leather jackets, sophisticated capes, and languorous suiting were the melody of Waight Keller’s swan song. At the finale, a lipstick red mini dress with a heart-shaped cut-out over the chest offered a romantic bridge before signing off with a frock bearing the profile of a face as a nod to “Lucy in the Sky” – escapism in sartorial form.

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