Resort Collections and Their Overwhelming Impact On the Fashion Calendar

Throughout its tenured history, the fashion world has traditionally revolved around a set schedule of two pivotal seasons. In September, ongoers line the streets of New York, London, Milan and Paris to catch wind of designer wears for the upcoming spring/summer season and when February rolls around, much of that same extravaganza reignites for the succeeding fall/winter period. Rinse and repeat. No longer the case. Not new by any stretch of the imagination, resort or cruise collections, as referred to in some circles, have long lingered around, however in recent years have transformed into a spectacle unto themselves — in a sense flipping the traditional fashion calendar on its head.

Originally meant to appease those of privilege, these inter-seasonal collections took aim at society’s jet-setting upper echelon as they prepared to board lavish-style cruise liners docked somewhere along the Mediterranean. Typically showing in June, these pre-season ranges hit its retail mark come November — in perfect time for those set to fly off — evading the bitter cold clutch of winter. 

As it relates artistically to those who design them, lets for a moment now explore the thought process behind these trans-seasonal offerings. Popularized by Chanel, it was the Parisian luxury label who first shed light on cruise wears — defining a moment outside of the crowded calendar. Upping the production factor to unforeseen extremes, industry heavyweights have since embraced the terms literal meaning — hosting shows in some of the most exotic locales anywhere. From Chanel showing in Dubai, previously in Seoul, to Vuitton in Palm Springs and Monte Carlo, it’s as if these sartorial superbrands have carved out a brief moment to coddle away from the relentless rigors of keeping to a strict schedule. Though, what is interesting to note is the playful paradox between its simplistic designs and outrageous production process. Regarded by some as the true DNA of a brand, resort collections embody the grass-roots ideologies and design principles of a designer. Afforded the freedom to create without deferring to the hoopla of a Milanese catwalk and all that it entails, garments personify a ready-to-wear practicality and less so about thought-provoking statements.

While these resort compilations interrupt the clarity of the conventional calendar, at times confusing even the most seasoned fashion observer, it is important to make mention of its relevancy in relation to red and black. Crucial to the retail buying process, such wears aim to snag the attention of consumers for extended periods of time as pieces are meant to carry through from October to the onset of spring. With that said, these collections sit on the floors much longer than that of any other season, and as reported by Business of Fashion, represent a staggering 70% of a stores overall buy in relation to catwalk collections. The choice in adhering to this independent season provides brands a sizable window sandwiched between fall and the following spring in which to entice consumers — ultimately ushering a trip to the cash registers.

Moving even further up the hierarchical chain of command, many brand chief executives whose labels remain active in resort proceedings have long had these dates circled — and for one reason above all else. Networking. Identified from those at the helm as an ideal time to constitute and foster relations, resort showcases bring together top level VIP clients, even more so than a trip to NYFW for instance, when those in attendance remain press and buyer centric. With artistic wears set as the means to gather, high level schmoozing takes center stage, so to speak, with power moves playing out, helping to shape the upcoming year ahead. Consequently enough, showcases set abroad in these majestic backdrops supply stunning imagery — providing yet another reason for society at large to rant and rave. With what is snapped, tweeted, shared and hash-tagged nowadays, those tuned in at home freely chatter amongst themselves — subconsciously carrying out frontline marketing strategies so relied upon by those pulling the strings. With all of the above carried out correctly, vast monetary gains remains an ever-increasing probability.

However, with a laundry-like list of pros to consider, there are some, many in fact, who would much rather do away with such collections altogether. NYC-based imprint Public School have followed the path previously walked by Gucci in breaking free from the constraints of such a rigid timetable. Having to plan, design and deliver a whole other season’s worth of wears can prove extremely taxing, and to some, not worth the added stress. In a definitive call to action, Dao-Yi Chow and Maxwell Osborne led their brand into what we now know as Collection 1 and Collection 2. This groundbreaking move consists of merging together womenswear and menswear to be shown twice per year — aligning closely with the pre-collection schedule of June and December as opposed to the prototypical September and February showings. No longer willing to bow down to the pressure levied from the business standpoint, Public School much rather place artistic integrity above all else. “Two years ago, we might not have done that. We would have been like, No, we’re sticking to the schedule. We would make sure we make everybody happy; make sure all the editors are there; make sure we don’t step on anybody’s toes. But now it’s like — excuse my language — fuck it. We’re more comfortable this way. We want to show this way.” Osborne was quoted saying while speaking at an event sanctioned by SCADstyle. “If you have menswear and womenswear, you’re doing four shows a year, essentially, In all, we were doing 10 collections every year, which is more than a lot. It’s insane.” Chow explained when speaking at the event.

Demna Gvasalia, head of the Vetements collective is yet another creative who has been put off by this juggernaut of a machine that is the fashion system. Alluding to the pressures of forced creativity imposed upon from a supplementary season, Demna was quoted as saying, “The whole industry runs so fast because we need to deliver something new to the store every two weeks so the client isn’t bored. They don’t want to wait for six months, so we have the pre-collection, the pre-pre-collection, and the main collection.” In this same conversation speaking with Business of Fashion, he also alluded to the lack of cohesiveness the current fashion cycle has with that of the production side. “The pieces became kind of soulless, you know, because they had to be made, but didn’t really have a reason to be. That was the most frustrating part for me.”

Taking into account both the monetary gains closely observed by a label’s board of directors and the creative output from those that design naturally leads into the discussion of its true significance. Are resort wears necessary to a brands survival and its growth? For those wanting to adopt the Public School mentality by amalgamating multiple seasons into one super show albeit aligning with the pre-season calendar, does this than somehow oblige both sides? While most perceive fashion to be a business before all else, more and more designers are standing up in preservation of artistic virtue — wanting to create based on inspiration rather than market demand. While no immediate evidence exists concerning its demise, the movement towards a streamlined fashion cycle is an outcome one would do well to prepare for. At the end of the day, such a conclusion may affect how you shop, and for us here, what we write.