Paris Fashion Week 2017: Dries Van Noten, Lanvin, Maison Martin …
March 2, 2017 - garden totes
Masculine-meets-feminine in a collections of Dries Van Noten, Lanvin and Maison Martin Margiela.
Why do we adore Paris Fashion Week? Because a travel is as many of a flog as a runway. Where else can we start your day saying a gent wearing a homemade Donald Trump Supreme T-shirt, afterwards mosey inside a Grand Palais and see a indication travel down a runway wearing a fluffy receptacle bag for a hat? And all before noon on a Wednesday morning!
— @Booth (@Booth) March 1, 2017
The hoopla was around Maison Margiela, a code that’s prolonged had a repute for sartorial antics, now helmed by John Galliano.
The tumble collection put a grin on my face, with a deconstructed and reconstructed habit classics, including a ditch cloak with a cutout of a Statue of Liberty climax in a behind and a varsity coupler pared down to a unclothed skeleton ragged over a check blazer.
Galliano calls a technique “decortique,” and he initial started personification with it in a open 2017 Artisinal (couture) collection. It’s a process of bringing a inside out by slicing by layers of a mantle to exhibit a hint — a plaid check backing on a ditch coat, for example, a navy blue dotted dress underneath a stencil of black velvet and sequence trim or a horizon of a cutout shearling newsboy cap. The opening looks were also a curtsy to Marilyn Monroe and iconic images of her, including a ditch in demeanour 1 and oversized black sweater in demeanour 3.
I appreciated a tellurian palm and a qualification in justification on all from an olive nap cloak with tufted elaboration to a rainbow chronicle hair extensions. And a house’s signature Tabi boots were a knockout in red snakeskin.
Things took a some-more polished spin during Bouchra Jarrar’s sophomore tour for Lanvin, where she continued to riff on masculine-meets-feminine sauce desirous by a boudoir and a ballet.
Standout looks enclosed liquid silk trousers ragged with a lacy blouse and festooned slippers, a striped tweed cloak ragged over a trip dress and a ballerina dress interconnected with wire weave angora sweater, fishnet stockings (they are everywhere this season) and chain-detailed prosaic boots for a contemporary take on sauce up.
Jarrar’s new proceed was on arrangement during this year’s SAG Awards, where Naomie Harris wore a Lanvin striped jumpsuit with a black silk rose embellishment.
On a runway, she went furious not with roses though with bird motifs, display feathered pins and waist and palm jewelry, as good as a now de rigueur mini bags.
It was a excellent collection, nonetheless some of a fabrics could have been some-more substantial, and some-more expensive-looking.
Dries Van Noten
The jubilee of sauce adult continued during Dries Van Noten, where a Belgian engineer famous for his approach with tone and imitation distinguished his 100th runway show. He noted a arise by fixation a pamphlet on any chair featuring a favorite settlement from any season, from outlandish florals to geometrics, any one a flower in his pattern garden.
— @Booth (@Booth) March 1, 2017
Van Noten hold his uncover in a decidedly unglamorous Bercy sports complex, where even Catherine Deneuve had to tromp by puddles and past sports hobbyists on a approach to a rink.
Inside a bare-bones auditorium, there were adequate folding chairs to give everybody a front seat. And once a uncover started, Van Noten valid because he is such a master. By simply regulating song (everything from Bernard Hermann’s adore thesis from a film Vertigo to David Bowie’s “Heroes”) and mirrors backing a whole length of a auditorium to simulate models as they floated down a runway, and his audience, he was means to emanate a many cinematic uncover we’ve seen on a runway in Paris so far.
The collection was an paper to modern, practical glamour, finish with an all-ages expel that enclosed thirty- and forty-somethings Carolyn Murphy, Amber Valetta, Alek Wek and Erin O’Connor, and a few comparison ladies, too. The garments reused many of a designer’s best-loved prints, that some women substantially still have in their closets. It was a wise matter on a 100th anniversary: What’s aged is new, what’s new is old; a leisure is in how we wear it.
The conformation was oversized, a classical womanlike energy look. A white blazer was ragged over patchwork denim, and a quilted imitation coupler over relaxed trousers. Van Noten showed several mixed-print dresses, some in velvet, that looked like a easiest thing to trip on, ragged with white boots or pumps with jewel-like heels. Iridescent trousers were pristine glam rock, though in a ‘wear on a street’ and not on a theatre kind of way.
When Van Noten came out to take his bow, he got a station ovation. But a collection felt like an acclaim for all a women who have done his career, all of his heroes.