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Related Articles: On the fall Christian Dior runway, Maria Grazia Chiuri looked to the future and the ways in which technology will reshape—and is reshaping—fashion. Her spring show today was a glance back at the past via the Italian noblewoman turned French queen Catherine de Medici, whose influence at court was not least of all sartorial. “The idea was to play with this reference and how much fashion and power are in dialogue,” Chiuri said. The collection had an element of autobiography. Chiuri, too, is an Italian in France, one whose job it is to shape fashion, and she’s had no little success in her six years at Dior, as anyone who has walked by the new Avenue Montaigne flagship with its lines of shoppers can attest. Doing research, she discovered a map of Paris in the archive dating to the house founder’s time, with Avenue Montaigne at its center (in most maps of Paris the street is further to the left; it’s not the actual center of the city). Chiuri made it a focal point of the collection, printing it the way she might the familiar toile de Jouy on a cotton trench coat, whose efficient modernity offered a counterpoint to the historical shapes that were a focus here. De Medici is credited with introducing corsets, platform heels, and Italian lace to the French court. Look 1 put the Dior atelier’s fine craftsmanship on display, its hoop cage overlaid with yards of black raffia lace. But if this was a dialogue about fashion and power, it was also a conversation between past and present. That historical skirt was paired with a bra top of the sort Chiuri’s daughter Rachele, a trusted adviser, might wear to a party. A dress with the fit-and-flare shape that is a house signature was made with drawstrings, lending it an adaptability and a sportif feel that would have been alien to Monsieur Dior. Also getting a rethink were New Look skirts in floral-embroidered cotton, patchworks of broderie anglaise, or that map print, which Chiuri split down the middle and paired with matching shorts. Three cities’ worth of shows confirms for anyone who was still unsure that the new generation’s views about exposure and bareness diverge from that of their elders. Chiuri embraces that difference. The Bar Jacket was only notable for its absence, and de Medici’s corset was utterly freed of its restrictive connotations. Chiuri treated it more like an accessory, showing it unfastened and easy over blousy shirts. The stage was set with a grotto made by the French artist Eva Jospin, its sublime intricacies belying its humble cardboard construction. Chiuri also recruited the Dutch choreographers Imre and Marne van Opstal and their troupe to perform a carnally charged dance. The collaborations extended to Tassinari & Chatel by Lelièvre Paris, responsible for the silk embroideries that appeared near the end of the show. What most impressed, however, was the raffia, which Chiuri had woven into tops, skirts, and a coat, as fine as any lace and real height-of-her-powers stuff.
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- During the course of the show, he started to introduce bright saturated colors as a contrast—electric blue, acid green, emerald green—which looked at their most dazzling when deployed for the dream-it-and-we-can-make-it technical marvel of his pleated sequin pieces, such as a shrug it on coat, or a sweeping floor-length backless evening dress. (How often does one see pleated sequins, particularly when the folds run on the bias? Like, never. Difficult to do doesn’t even begin to describe it.) Of course, what was going on here wasn’t some old school narrative of a shift from one trend to another: Nothing so first degree. What Piccioli has triumphed at these past few years is the way he has challenged himself, the house he oversees, and the industry itself, to keep thinking differently, respectfully, democratically. (Consider how, at the end of his show, he led the models out onto the street, so the crowds outside could see the collection.) He has proven himself to be a particularly sensitive and thoughtful protagonist. His spring collection was dubbed Unboxing, as in thinking out of the…. Such as: Refuting the notion he could only work with uberstar models. The cast here was almost all unknowns, some of whom had never walked a show before; the better, Piccioli thought, for the audience to focus on who they are as individuals and not on their status in the industry. (Which might have explained why a few found the heels tricky.) Or challenging the orthodoxy of fashion speak, in this case, the term minimalism. Backstage, Piccioli laughed at the idea that sequins couldn’t be thought of as minimal. For him, he said, it all came down to the idea of how you designed to be reductive without taking away. Being behind the scenes gave another insight into what was going on here. Pinned up above a moodboard was a quote from Richard Avedon (Piccioli had recently visited the late photographer’s ongoing retrospective in Milan.) “My photographs don’t go below the surface… I have great faith in surfaces. A good one is full of clues,” Avedon said. In other words, in Piccioli’s view, a designer can only give their vision. The rest of us have the right to interpret what he presents, to look further and deeper, in whatever way we like.
- The Sacai collection began with a hybridized tuxedo-shirt combination, the pleats of the black jacket and white button-down intermingling at their hems. It was worn with a kicky pair of fitted pleated pants, more like leggings than trousers, that opened into flares a few inches north of the ankles. As the model passed, the silhouette got a “wow, that’s great,” from a seatmate. No small feat on the penultimate day of fashion month. Pleats are the main event at Sacai this season. Designer Chitose Abe’s collection was in progress long before Issey Miyake, the groundbreaking Japanese designer known for his innovative pleats, died in early August. But there’s a connection nonetheless. Miyake’s pleats promised freedom of movement and, while they’re entirely different, so do Abe’s. “I really wanted to express a sense of freedom, and an attitude of positivity and joy,” she said after the show. Abe began her career as a pattern-maker, and it explains her very focused approach. Every category got the pleat treatment, from crisp black and white tailoring to an army surplus MA-1 jacket to soft leather tank dresses. The result was a collection of A-line shapes with the fluidity that she was after, even when it was reined in with a more structured element, like the asymmetric mini layered over a short shirt-dress. Also A-line: most of the sleeves. Abe split jacket arms down the seams and designed shirt sleeves to extend past the fingertips; the models wore them pushed up, which created pooling volumes around the wrists. The room was full of women in Sacai coats, which are distinctive without yielding any sense of practicality. This season’s entry into the canon was a smartly cut trench with exterior pockets attached to its belt and those dramatic split sleeves.
- (Paris, it has to be said, is enraptured with this look; in the most extreme examples, seen on other designers’ runways, nothing will say spring 2023 like having one knee brazenly flaunting itself, the other having taken a season-long sabbatical by hiding behind fabric, a sartorial vow of silence.) Interestingly (and another little narrative of note from Paris these past days) this was another spring collection heavy on, well, heavier things. It was all part, Hwang said, of thinking about those earlier deliveries, when the sun, like that knee, might need quite a bit of coaxing to come out. These were some of the best pieces here: A fantastic cuddly toy of a fur, made up of upcycled panels of the faux fluffy stuff, or a really rather chic coat, which had been quilted inside, so that the pattern of the padding ‘bled’ through to the surface; it was quietly intriguing and effective both from a practical and decorative point of view. Maybe that’s what Hwang meant when he was talking about the rational and the irrational. If so, here’s another good example: Those undulating bands on his skirts, which could be fastened or unfastened via a series of hook and eye fastenings. All done up, those hooks make for an elegantly graphic embellishment. But start unhooking, letting the panel fall to reveal the body underneath. Well, then you’re in the realms of freeing your imagination as much as the designer who created the skirt you’d be wearing.
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Surf culture and beach life continually fascinate the fun-loving Dean and Dan Caten. But why surf and not, say, tennis or soccer or just plain old swimming? “Because surf is sexier, cooler, hotter,” they said backstage before their spring show. “It’s about freedom, strength, being in the ocean. There’s lots of mystique around it—ideas and lifestyle, images, music, a whole lotta culture. Very inspiring.” They enjoy surfing when in Mykonos, which just adds to their love affair with the swells. Surfers have a deceptively laid-back aesthetic, as they’re actually quite fastidious about their looks. For spring, the Catens went for a surfer girl who manages the layered styling to a hilt, elevating it to an effortless fashion form as easy as a lazy suntanning session on the beach. Transparencies were played out to express the leggerezza, that lightness of mood the designers wanted to convey. Tulle mesh, PVC, chiffon, filmy lace, and a whole panoply of sexy sheer fabrics were turned into flares, wrap skirts, leggings, blazers, and XXXL board shorts juxtaposed in an apparently haphazard jumble. The silhouette was kept lean and unfussy despite the riotous styling. Bright colors and shiny liquid surfaces (sequins, glazed nylon, stretch satin) had a tonic, vital vibe, tying the layered lineup of individual pieces into a cohesive mash-up—which, while sounding oxymoronic, gives credit to the Catens’ bravura in mastering the art of orderly, neat, sexy chaos.
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