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Related Articles: (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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- Exploration of form, rather than narrative, is what drives Melitta Baumeister. It also keeps a steady stream of interns knocking on her door in Washington Heights. They always say, “I want to know how you make these shapes,” says the designer with a laugh. There’s not a single answer to that question. The shoulder points of a witchy dress in the spring collection are formed by a wooden harness. What I’m calling the chair dress makes use of an inflatable, rather than foam, which the designer has employed in the past. Soft boning is used for 3D frills, and one way volume is created is by using pleating on the crossgrain. Pleating, says Baumeister, also replicates the “bounciness” and “wobbliness” of knits. Baumeister is a wizard with lines and circles and squiggles, which she applied for spring with various degrees of intensity. There are plenty of options on the tamer end of the spectrum. Among them are a shirtdress in an exaggerated A-line shape, tent dresses with bubbled hems, an especially smart oversize parka, and generously tailored jackets with extra long and extra skinny sleeves worn with shorts-pants, which can be detached at mid thigh. Some of the pieces in Baumeister’s spring collection place her work in line with what Satoshi Kondo and Yusuke Takahashi are doing at Issey Miyake and CFCL respectively, but her world is her own. It’s one of circus mirror exaggeration and exacting techniques. Wallflowers be warned: There is nothing “safe” about this designer’s work. “I like the extreme points of something,” says Baumeister. “Whether it’s extremely round or extremely pointy, I like to see where the edge of something still being wearable is.”
- After Burberry canceled its original presentation during London Fashion Week out of respect for the national mourning period that followed the death of the Queen, Tisci squeezed the show in on the Monday between Milan and Paris. Presented in a naked warehouse in Bermondsey—the London Contemporary Orchestra lined up in the middle of the space—it unfolded in complete silence before the soprano opera singer Nadine Sierra broke out in a poignant aria. It wasn’t until the finale that the orchestra joined in. “It was a moment of respect. She was the queen of the world—every country respected her,” Tisci said. “In England, you always have this contrast: the street and the royalty. And I think today was that,” he added. Those were pretty much the words Tisci used to describe his first show for Burberry back in September 2018. If it’s something of a cliché, his view of British culture has clearly broadened since then. Compared to his debut show, this collection offered a less literal and more nuanced approach to its subject matter, and portrayed it through garment construction that has assumed a much more complex nature in the four years he has spent at the house. Rather than looking at the general characteristics of England, he now looks at corners of British society that resonate with his own experiences and aesthetic. “I’m very happy because I’ve found myself, and I find it very respectful for Burberry,” he said. “It’s not ticking a box, but elaborating on what Burberry has been famous for, for so long: the check, the trench coat, the car coat, and a lot of bags. At the moment our bags are doing well, which is nice to support.” He presented them alongside trademarks from his career pre-Burberry: shark earrings and crown-of-thorns necklaces; his own iconographic stamps now embedded in the genetics of Burberry forever.
- “To me, the body says what words cannot,” Martha Graham, the revered, radical American modern dancer and choreographer, once said. It wouldn’t be crazy to think that’s the kind of statement Anthony Vaccarello of Saint Laurent would concur with. His work for the house has always exalted a corporeal glory; his own view of physicality—strong, celebratory, unapologetic—and the legacy of the house merged to be totally in sync. Graham’s and Vaccarello’s orbits surprisingly spun into each other at his spring 2023 show, which was staged in the almost dreamlike Parisian setting of a grand paved garden replete with a cascading fountain that Marcel Carné would have been thrilled to have filmed upon. (The set was built especially for the show, sweeping staircases, perfectly laid flagstones, and all.) The result: a quietly epic examination of what happens when you both reveal and conceal the body—and the frisson you generate when you make your look long, lean, and loaded with attitude. Backstage, just before the show, Vaccarello mentioned that he’d been looking at the groundbreaking way that Graham dressed her company in tubular dresses for her 1930 production Lamentation, costuming which audaciously emphasized every bit of physical agility from her dancers. Vaccarello first discovered Graham, he said laughing, by being a fan of Madonna’s in the 1990s, when the Material Girl had been busy (rightly) singing Graham’s praises to the sky. But for spring Vaccarello looked back a decade earlier to YSL’s past—the mid-’80s days when models strode those old-school elevated podiums in Monsieur Saint Laurent’s hooded, draped capuche dresses.
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Talk about diving in headfirst! Nobody embraces a theme like Jeremy Scott, a fact he’s reinforced throughout his eight-year run at Moschino, but this season he really went for it. “Everybody’s talking about inflation,” he said backstage. “The cost of everything’s going up: housing, food, life. So I took inflation into the collection.” He wasn’t talking about rising hemlines or oversized volumes either. He meant it literally, as we learned from look 1, a little black dress with Franco Moschino’s iconic heart done up as a mini inflatable “with a nozzle and everything.” By this observer’s count, every look save for a small handful had some sort of inflatable detail, be it a heart-shaped collar or hemline or “broken heart” lapels, one half on either side of neatly tailored jackets. There’s precedent for these kinds of antics. The house founder made a life jacket for his 1989 Cruise Me Baby collection that looked a lot like the vests stored under plane seats “in case of emergency.” Riffing on that idea, Scott added a life preserver ring to the jacket hem of a tweed skirt suit, and cut a trench in caution yellow with black raft handles where the epaulets should be. “Sometimes we feel like we’re drowning,” Scott continued, acknowledging the bad news stories clogging our feeds. “I’m sure you do. I know I do. But no matter what is going on, we have to save space for joy, right? The darker it is, the lighter I have to be.” Making good on that promise, he embellished his evening looks with honest-to-goodness pool floaties. The most inspired of the bunch included a strapless purple column cinched at the waist with the deflated ends of a pink raft, its pneumatic ends creating a train, and another strapless number that was accompanied by a Lilo stole. By the end, Imaan Hammam’s look was more of a floatation device than gown, but that was Scott’s point. Anyone who could use a little buoying up, Scott’s your pool boy.
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