The Paris Fashion Week, which was closed not long ago, is too long and lacks. On the evening of Tuesday, Louis Vuitton held a press conference at the Louvre. It was only eight days before Gucci's show at Le Palace. It felt like a whole season. All in all, the exaggerated marketing gimmick is big enough, and the real original is very pitiful.
This is the fashion season for the corporate giants. Lu Wei Xuan Group (LVMH) and Kaiyun Group (Kering) each played a trump card. Each ace has been fighting for the first time, and the play is still the "Sun King" Louis XIV set of tricks to show off wealth, to declare power with grand spectacular scenes. On the opening day, Christian Dior played against Gucci, followed by Saint Laurent and Celine.
Dior used the entire racecourse of the Bois de Boulogne, and the huge tents were built to accommodate almost a modern dance performance. Celine (now e is not é), set up a bigger black tent in front of Les Invalides. Saint Laurent once used the Eiffel Tower as a backdrop to walk under the white plug-in palm trees. Louis Vuitton built a tubular space like a spaceship in the Louvre inner court, a bit too much like Gucci's fall/winter 2017 Set the scene. It is like a hearty Swedish buffet. But the smog that went to the crowd was not much left.
Hedi Slimane's Celine debut is naturally the most anticipated of the season, and it is also a meticulously promoted moment, more like a master-level public relations event, rather than a showcase of design progress. The conference was held for 20 minutes and presented unsolved puzzles about originality, authorship, brand style heritage, self, target audience and marketing. The press conference did not promote the dialogue of fashion design, but only to catch up with the new form that is becoming more and more obvious at any time. Goodbye, the ubiquitous sneaker trend.
But it is not only Hedi doing this. Progress is no longer a priority, and the endless product “new†can give people a feeling of continuous renewal.
Gucci's creative director, Alessandro Michele, is a long-standing player in the whirlpool and continues to delve into his unique Baroque "mix and match". It’s just that this season’s design hasn’t sparked any sparks. Leaving Milan, the show was seen in the bleak and dusty Montmartre Le Palace Theatre, like the nth iteration of its style code. Of course, it is also fascinating, but this time it is a bit overdone: like a return to the light, just like to convince you before the diet or detoxification, the last big meal.
Seriously, if Alessandro Michele starts a new attempt, it should be quite interesting. He also has the temperament of this attempt, it is time to get out of the comfort zone.
At the same time, in Dior, the body and discipline presented in the dance made a more rigorous interpretation of the original familiar style, but in the end, the dancers snatched all the limelight. In Saint Laurent, Anthony Vaccarello adds a touch of sensuality to Mr. Yves' classic pieces, and the magnificent black infinity pool becomes the declaration itself.
No matter from which point of view, such a super show is a considerable machine for making media exposure. But all these dramas and gimmicks often give the impression that they are a fig leaf that lacks ideas. To be as focused as Rick Owens, you have to truly become a "film writer" to truly hold a coherent and meaningful fashion show that will make people excited and insane: his dystopian version of the charm, The lace of the Fauvism and the burning torch make it perfect.
Demna Gvaslia's powerful exploration of "architectural contours" in Balenciaga shows that he is embracing new and more demanding tailoring challenges, but is also almost swallowed up by artist Jon Rafman's extraordinary video installation. But in this way, the designers who really focus on making clothes use only the simplest and direct performances to showcase the series (a fashion bridge, rows of seats) is actually the winner: their honesty, focus, professionalism, humility, It is more destructive today.
These include the always poetic Pierpaolo Piccioli, the gorgeous collection he presented in Valentino, the spirit of the wing-like flow of light, the spirit and form, and the Japanese who still hold the torch of innovation, such as the undisputed master. Rei Kawakubo - she eventually returned to the clothing, and at the same time increased the radicalism by the intensity of the autobiography, as well as the experimentalist Kei Ninomiya and the beautiful People's Hidenori Kumakiri, two They are the best new designers on the Paris Fashion Week schedule.
Of course, John Galliano, who continues to fine-tune his ideas at Maison Margiela, delineates the boundaries of a vast and smooth tailoring experiment, making creativity and coziness the most worthwhile rebellious quality in an era that has never been seen before. . Because with the big stream really won't make you better.
Overall, the most exciting part of Paris is the brand's respective “recipeâ€. Of course, nowadays people talk a lot about the style code of the fashion house, but it is dangerous to turn the code into a cliché. For example, Sarah Burton of Alexander McQueen is still offering a wonderful design. But despite the skillful craftsmanship and the beauty of the work, everything she did was static. Either sharp cuts or elegant shapes, with shoes or accessories with a dangerous aesthetic.
Sacai is also a bit of a formula, and Abe’s most promising fashion “mixed variants†have already reproduced 1000 copies, losing the original casual and relaxed. Stella McCartney's formula needs to be adjusted drastically because she is now at risk of becoming more marginalized.
And Thom Browne, breaking the cold and soberness that dominated his own system, really took the courage to explore the taste, but he returned to his unique humor, but this humor with "disgusting women" is somewhat out of place, a bit Unpleasant.
From the first day of Louis Vuitton, Nicolas Ghesquière's clothing techniques focus on collage and mashups, and this season is once again incorporating futuristic fanaticism, just more chaotic than the dynamism of the past. Ms. Prada, who is still in the comfort zone, has become a complete iconic vandal in Miu Miu, exploring the concept of “ugly beautyâ€, quite like an interesting commentary for this season – this season is basically a reality. Collective escape.
Paco Rabanne's Julien Dossena finally joined the fashion conversation. Abandoning the stiffness while retaining the sharpness, Dossena has presented a successful new series that is free and sharp, retaining the right local color without losing internationalization. The combination of performance spirit and garment technology is still a meaningful experience.
The same can be said to describe Loewe's abstract style, which is a fashion vision that can withstand scrutiny and energy. In addition, those utopianism are just trying to give up the responsibility of "doing good fashion."