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Fashion dispenses a little happiness pill

PARIS – Perhaps unsurprisingly, conservative trends are now seen in the menswear shows here, a link that connects established labels like Dior and Hermès, where designers Designers Kim Jones and Véronique Nichanian produce fall collections that highlight their designs by doubling down on heritage.

A lifelong traveller (he often says he works mainly to make money for his extravagance), Mr. Jones is often active on a geographic subject. Last season, it was a collaboration with Travis Scott, inspired by the rapper’s hometown of Houston. (The collection is indefinitely postponed follow Astroworld Tragedy.) This time Mr Jones took a detour to safer territory and, to celebrate the 75th anniversary of the Dior Men’s house, he chose as his destination – the reel drum – Paris.

Mr. Jones’s City of Lights is associated with Gallic elegance and sophistication with a set that not only reimagined the gilded Pont Alexandre III bridge for its backdrop but also continues to exploit every French cliché on a postcard holder.

Think tailored jackets in slate or dove gray, some with an intricate wrap at the front. Think blazer jackets with white trim and cut to reveal the edge of the fabric. Think Birkenstocks suede shoes with a textured upper with the Dior logo. Think, for Pete’s sake, remember.

That’s right, the berets are the work of Stephen Jones, the inspirational English hatter who has worked with Dior for a quarter of a century. That’s right, the tourist shops along Rue de Rivoli still sell you this felt pancake for 5 euros. However, there is no escaping the fact that Parisians wearing berets are rarer than Parisians walking down the street with a sandwich under their arm.

Nichanian plays along with these French idioms, too, albeit to a higher (and more expensive) degree. Season after season, she makes clothing tailored to the customers of a brand that started in 1837 as a saddle and remains a purveyor of the traditional carriage trade. . (Well, sort of: The company’s vaunted Birkin, the Brabus handbag brand, has now been joined by stonea new and special edition for boys.)

The showcase was held in a national furniture warehouse and against the backdrop of tentative tapestries from state collections, and prior to it, Ms. Nichanian spoke to a number of journalist about her intended “great effect”. Conceivably that means a collection usually geared towards younger guys that everyone in the business has been trying to evolve from hoodie to suit. Here, one is made of two-button calfskin with wide feet that make you wish Miles Davis was alive to kick one. However, Davis was sure to take one of the cashmere silk scarves Miss Nichanian substituted for a tie and knot the outside of his shirt.

Elsewhere on the list are designers with all sorts of promises, but also positions and ideas. At GmbH, Serhat Isik and Benjamin Huseby have produced an exquisitely designed collection that seems destined, as usual, to influence designers at much larger homes. For instance, anyone picking up Virgil Abloh’s final collection for Louis Vuitton, must have kept an eye on GmbH’s runways.

Diversity is a GmbH signature. So are also references to Islam, here in the form of calligraphic texts that Ottoman soldiers would tuck under their armor as an amulet. In the realm of ideas, Mr. Huseby and Mr. Isik constantly face tensions between the fact that their lives are mixed races (Isik is Turkish and German, and Huseby is Norwegian and German). Pakistan), gays and the wider culture.

Unlike recent seasons, there are very few “unisex” shows and a certain amount of collective amnesia about the goal of changing sexism. That said, the GmbH show contains elements that could initially be read as infringing (thigh boots worn with shorts underneath a clearly tailored one-and-a-half coat) until the viewer recalls that the the museum is choking with images of 16th century long-legged lads in tights, t-shirts, and tights.

“It was the most formal collection we’ve ever done,” Mr. Huseby told Vogue.com. “But I felt it was also the most rushed and the most sleazy in a strange way.”

Hybridity, though of a different kind, is more than just a rewarding buzzword for British designer Grace Wales Bonner, whose award-winning work has consistently created tensions inherent in the intersection between race, culture and sexuality. In Miss Wales Bonner’s collection, drawing on her experiences of mixed race and Afro-Caribbean ancestry, there are hints of a wardrobe to wade back to a somewhat distant space: literature. room. In particular, a denim jacket with a front zipper combined with wide-leg trousers is a reasonable solution for the work uniform. Although the Wales Bonner digital show has been shown for both women and men, little about it suggests that the distinction needs to be clearly defined. Anyone can wear it, and that includes skirts.

When we look back at this strange nominal period – which has not yet passed the pandemic threshold – the two designers will likely stand above the rest for the pure individuality of the decor. One is Rick Owens, who sat on some steps inside the Palais de Tokyo last week, declared the following: “Men are pigs.”

Right and?

His show, titled “Strobe,” was inspired by the designer’s recent trip to Egypt and featured models wearing sculptural cross-hairs. Dan Flavin and the display board at Just Bulbs. In many ways, the collection has been transparently traded. (For all his runway antics, Mr. Owens is a shrewd businessman with an innocuous knitwear business.) Some have played Ming the Merciless inspired by Hollywood’s Golden Age such as Distilled through the sensibility of 1970s designer Larry LeGaspi. Some had executioners’ hoods.

What is unmistakably great about Mr. Owens is the way he is determined to create his own distinct aesthetic. The self-described “small-town sissy” from Bakersfield, Calif., caught the attention of outsiders and catapulted it into the middle ground. Despite talking about this particular collection, he could easily articulate a credo as he remarked backstage, “I’ve decided to go straight to the Id.”

Likewise, Jonathan Anderson at Loewe has no problem dealing with a dominant culture. In this case, it is the vain futurism of “reverse“Which he has combined with a collection of crafts based on a technology once considered world-changing: fiber optics.

Mr. Anderson sent models out of a forest of colored ribbons clad in glittering bodysuits and sweaters illuminated from below by beams of LED lights. As a fun counterpoint, he showcased rubberized silhouette raincoats worn over what looked like Y fronts; shearling jacket with exposed internals; and t-shirts, with their faces printed on the front, pulled over the model’s head – a fairly direct quote of the shirts created a decade ago by Matthias Vriens for his brand BL33N and sold at Colette.

The same is true the day after Nigo’s debut new creative director at Kenzo – a fun display of tassel coats, flowing cap and Pop graphics drawn from family archives – the optimism prevailing in Loewe is like Xanax fashion, a fast working mood elevator that everyone can use now.

https://www.nytimes.com/2022/01/26/style/men-fashion-shows-paris.html Fashion dispenses a little happiness pill

Fry Electronics Team

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