"This season I wanted to get away from Rome, or at least I wanted to place the Eternal City in a global context. In this collection, we worked on fragments of different cities, namely Kyoto, Paris and Rome. The fragmented nature of things echoed throughout. the collection, as fragments of memory or impressions of past, present and future things ".
Kim Jones, artistic director of Fendi's Couture and Womenswear lines, explains her new haute couture collection created for the Roman maison
, which shows in Paris on the last day of the French haute couture calendar.
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Fendi leaves a mark of style and rigor on this fourth day, sending unexpected dresses on the catwalk, light as clouds, skilfully embroidered like flower petals bathed in dew crystals.
So a perfect "Japonism" for Kim Jones.
In the collection, iterations, transparencies and fragments of the past compose the present and subtly move towards the future.
The embroideries and traditional couture workings become accessible, light, with a sense of brightness that makes them sparkling and casual at the same time.
The show starts from the classic of the Fendi wardrobe: camel coat, a trouser suit with an asymmetrical cut and essential lines, a slipped knit dress.
Timeless garments, beyond fashions and seasons.
We then gradually move on to lightness.
The dresses are lightened and illuminated by crystals: the baby blue pajamas are embroidered with precious flowers, the minidresses are sparkling with crystal embroidery.
The colors begin with biscuit beige and then fade into delicate sage green, gray, sage, off-white, until they light up in dazzling yellows, mint green and bright pink.
For Kim Jones, complex constructions are over, replaced by a rigorous and softer style, the bearer of a feeling of simplicity even in an elegant wardrobe and for special occasions.
Kyoto, the cultural capital of Japan, is the starting point.
Here, fragments of kimono fabric dating back to the eighteenth century, become a departure for the creations of the future.
Kata Yuzen, a meticulous hand-painting and printing technique unchanged for many hundreds of years, is used by the house.
Produced in Kyoto like the traditional silk panels of kimonos, here a long dress is cut and reformed asymmetrically.
The Acer palmatum starts from the design of the fabric, called Ode to Autumn, from 1700, and finds different shapes everywhere,
Parallels are drawn between East and West, masculine and feminine, natural and artificial, tradition and modern, until autumn-winter.
Kata Yuzen dresses echo and find their continental counterpart in the sinuous and sparkling crystal cages that most reflect the architectural spirit of Paris in their construction and manufacture.
A sense of French "Japonisme" and Art Déco ornamentation is combined with a more Italian version of the Vicuna suit, leather and fur.
There are hints of the masculine codes of tailoring in suits and suits in Vicuna fabric and cognac-colored calfskin, with their structures, emphasized internally and sometimes externally.
There are also personal pleasures, intended for those who wear certain garments,
as in the construction of many of the garments - internally, traditional Japanese fabrics are used as linings.
The supreme skill of the Fendi fur atelier is shown in the inlay construction of the shaved mink suit.
Here, an abstract reinterpretation of another fragment of traditional 18th century Japanese fabric called Rope Mountain motivates and monumentalizes the collection.