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Ermenegildo Zegna’s Trofeo pinstripe shirt ($375)
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Eton’s Flora & Fauna shirt ($295)
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Your front row view, no ticket required.
“To actually be a part of a brand that you look up to, and a legendary one at that, is super dope.“
Heresy: An opinion or doctrine contrary to dogma. Is it heresy to question the deification of Vetements’ Demna Gvasalia by the fashion and pop-culture faithful? His acolytes are so vast that last season, brands from Juicy Couture to Brioni and Church’s let him have his way with their stuff.
On Tuesday, Gvasalia delivered another interesting Vetements collection, a study of stereotypes. “This season was a bit of an outburst of that kind of fascination with social uniforms and how people dress, dress codes,” he said backstage postshow. “It’s something I always work with, more or less, but then we really decided to emphasize it and to study each look as a separate person, as a character.” To that end, he labeled each player: La Parisienne, Bouncer, Broker, Vagabond, Punk, Pensioner, Secretary, and on through a litany of 36.
Designers have long created characters, but this was different. This was — or felt like — unenhanced reality, his nonmodels genuinely diverse across generations, ethnicities, body types, ages and runway walks. With the exception of the bright green-clad punk with his mile-high spiked tresses and the ghostly bride, most looked not fashion-real, but really-real, as if they’d gotten dressed as they would on any other
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With all those veils and many meters of tulle and lace, Alexis Mabille’s increased focus on bridal, having dedicated his 34 Galerie Vivienne store to the category since mid-December, seemed to be wielding its influence here.
Or maybe just the idea of girls playing dress-up. A “Gentlemen Prefer Blondes” theme wove through, with among leitmotifs a crystal tiara that morphed into belts and embellishments on the arms and bustiers of jewel-tone gowns.
The opening evening look, combining a pretty black bustier top in an oversize ruffle and high-split pants, was misleadingly restrained. The ruffles and colors — which spanned pastels, neons and unexpected mixes like turquoise and purple — got bigger and bolder, as silhouettes meandered between formal gowns, lingerie-inspired looks and princess dresses, like a lemon sherbet number dusted with crystals.
There were some nice moments, such as the yellow silk handkerchief dress edged with geometric black lines, and the delicate handiwork was impressive, especially on a voluminous, sheer overlay in illusion tulle striped with bands of colored satin, worn over a bodysuit.
But the collection’s obsession with making it down the aisle — whether for rocks or romance — felt out of sync with the times.
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High-minded glitz. Not a concept easily realized, even in the haute sphere. That’s because, just like everything else in fashion, glittering embellishment has a range from high to oh-so-low. It has been used and abused, the go-to trick-me-up for red-carpet mermaids, cheesy pop stars, cheesier gymnasts, housewives of who-knows-which-city and every PYT with an Instagram account and a party to chronicle. Along its egalitarian journey, the sparkly stuff has lost the luxe from its luster.
Leave it to Karl Lagerfeld to put it back in. At his Chanel show on Tuesday, he turned up the tony on intense renderings of allover crystal embroideries. His starting points: two icons of 20th-century creativity, Syrie Maugham and Alberto Giacometti. Maugham’s white interiors and famous slim-paned mirrored screen provided specific inspiration for Lagerfeld’s installation in the Grand Palais, right down to the multiple vases of sleek, tall calla lilies.
If the set reflected anything — other than everything — it was a sense of strict control imposed to enhance elegance without draining spirit. The prevailing silhouette was inspired by Giacometti’s “Spoon Woman.” The result: a waist higher than natural but below empire, with a skirt curved around the hips in the shape of a spoon. The
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Kiko Kostadinov presented a streamlined, minimal first collection for Mackintosh 0001. The new premium offer from the Scottish heritage label featured 10 unisex looks in black that relied heavily on the brand’s signature rubberized materials. Waterproof tape used to seal the seams on Mackintosh raincoats has been repurposed as reflective stripes throughout the collection — adding a sporty, urban element to looks that had an otherwise formal tone. The tape was also used to weigh down hems and sleeves, resulting in the traditional, loose cut on trenchcoats retaining a structured effect in motion. Overdyed black coats looked blue in the lights, contrasting with ebony knitwear for a sophisticated monochrome effect.
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