![]() On the narrative side, we were on holiday somewhere between the desert of Marrakech and the coast of Casablanca: yellow and blue coats and miniskirts constructed in shiny eel skin, seaweed-shaped embroideries on jackets, and knitted robes de style that bounced like jellyfish. There were two sides to the collection Sialelli showed in L’Atelier des Lumières, a former foundry on Rue Saint-Maur, the walls of which he bathed in projections of poetic footage created by the film-maker Joshua Woods. Now we want to express the idea that we can accompany our audience on a full-day occasion,” he said in a preview. “In the past, we introduced my vision for daywear. That was illustrated in a pre-collection “overseen” by artistic director Bruno Sialelli in July, but today’s main collection felt more like his definitive-and more personal-proposal for Lanvin’s new market plan. In the process, the house wants to turn down the volume on the opulence it had been amplifying in recent seasons, and settle for a more subdued glamour. How you can have fashion and business and not kill fashion.This summer, Lanvin announced a “reset” focused on aligning its directions for women’s and menswear, and building a contemporary wardrobe for both customers. How the skills of the French atelier are valid, precious, and relevant. Who's next? Which designer? Which pope? This is a collection that is not just a global view, but more a local view. "It is about the world changing, women changing. The ones he does prefer are "love," "happy," and "help." And he wants us to pay attention to those words: "I think this is a collection about thinking," he explained. Unusually for a fashion designer, Elbaz often starts his collections by contemplating spoken and written words here, they were purposefully on display for all to see. In this instance they spelled "cool." "There is no word I hate more than cool!" Elbaz declared after the show. That was reinforced by the reams of thick gold chains, a constant motif in the collection, along with the letters that dangled from them. ![]() ![]() In one of the many standout looks, featuring a godet skirt and a top encrusted with winged insect appliqués and embroideries, the shoes transformed the meaning of such a mélange to one of a warped bobby-soxer. She was no longer wearing prissy slippers, and her new footwear altered the entire silhouette. It was the sign that a much tougher girl was emerging for Elbaz this evening. This was most noticeable in the shoes: Gone were the ballet flats in their place, a scaled-down version of a men's oxford. In anybody else's hands, this could have been something of a mess in Alber Elbaz's, it felt like freedom and fun.Ī teenage atmosphere permeated the collection, a schoolgirlish view that avoided the saccharine and cute and could apply to all ages. There was an almost twenties feeling in the first dress, an idea of a floral appliquéd tracksuit in the second look, a fifties cocktail dress in the third…Each model reveled in an idiosyncratic appearance of her own, with makeup tailored to meet her individual needs and hair mostly tied back. The spirit was carefree yet elegant, controlled yet not giving a damn. ![]() Here day and night, night and day were all mixed together, sometimes in one look. This relaxed mood continued as the popcorn was swept up and the show began. It was like a high-fashion fairground where you might bump into Catherine Deneuve playing pitch-and-toss. As male ushers served popcorn, cans of soft drinks, and mini bottles of Champagne to the milling crowd, a casual, loose atmosphere was created. That's downbeat in Lanvin terms, you understand, which is to say not very sedate at all by most established norms. The mood for the latest Lanvin show felt almost downbeat on arrival at the venue of the École des Beaux-Arts.
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