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Virgil Abloh shines again in Paris

2022-01-24T03:40:29.605Z


Louis Vuitton pays tribute to its late creative director at Paris Men's Fashion Week and the big firms claim luxury and creativity, propelled by a boom moment for the sector


There was drama and also spectacle at the Paris fashion shows, which from Tuesday to Sunday showed the men's fashion proposals for next fall, even with a calendar of

shows

face-to-face decimated due to the health crisis. On Thursday, Louis Vuitton celebrated a tribute to its creative director, Virgil Abloh, who died last November: this would have been the American's eighth collection for the firm's men's line – he left it almost finished – and his team wanted to turn the parade into a party. In keeping with Abloh's multifaceted talent, it was such a multidisciplinary show that it pushed the limits of attention span: under the enormous iron structure of the Carreau du Temple, the open space painted sky blue for the occasion, dancers could be seen on a huge bed; beyond, a red roof with a smokey chimney and simultaneously, sitting around a large table,a multiracial classical music band played songs by Tyler the Creator under the direction of Venezuelan Gustavo Dudamel, musical director of the Paris Opera.

Abloh was the man who brought sensitivity and commitment to the black community to the pinnacle of luxury, and who certified the importance of urban fashion in this market. In his latest collection, references to basketball and baseball were added to a varied and, only in theory, antithetical menu. There was jewel-toned tailoring with glam platform boots, deconstructed baggy suits and sequined denim ensembles. Also work jackets with floral print, military jackets with paintings by Courbet or De Chirico reproduced on upholstery fabric and, finally, in the place that the bride would have occupied in an old parade, immaculate white ensembles with spectacular lace wings , as if the models were carrying kites on their backs.The theme of the show was a culmination of those that Abloh explored during his five years at Vuitton: dreams, the unprejudiced innocence of childhood and the illusion of passage into adulthood. “Everything I do is for the 17-year-old version of myself,” the designer once said, a quote that was reproduced in the show notes.

Dior Homme parade, dedicated to André Leon Talley. VIOLETA SANTOS MOURA (REUTERS)

On Friday, Kim Jones dedicated her collection for Dior to André Leon Talley, former editor of

Vogue

An American who disappeared this month at the age of 73, and the first black man to achieve notoriety at the most elite intersection of fashion and high society. Talley's taste for opulence would have been satisfied in Jones' clothes: a delicate adaptation of the codes of fantasy and hedonism that Christian Dior introduced to women's fashion 75 years ago, in the midst of the war, and that changed the course of history. Models wore mink tailored suits with flirtatious berets, black jackets with beaded fur mittens, cashmere sweatpants, and, as was also seen at Vuitton, ornate costume jewelry gleamed in unexpected places (the instep of some shoes, for example). ). Even comfortable Birkenstock sandals, the house's latest collaboration, were luxurious, also unveiled at the show.Although the tone was relaxed, the references to haute couture continued until the end, when Kim Jones came out to say hello accompanied by Stephen Jones, the admired English milliner who this year turns 25 collaborating with Dior.

The scant calendar left room for the proposals to shine: on Saturday, Hermès presented a sober but desirable clothing proposal with technical winks and splashes of color, and Loewe, a collection that was intended to be "an alternative reality" and "a new beginning ”.

Outfits with unusual volumes – t-shirts with bows like tents – garments with LED lights or shell bags demonstrate the virtuosity of Jonathan Anderson, the house designer, for exercises in creative freedom.

Deployments that, together with an undeniable talent for accessories and creative direction, have made the firm with Spanish roots a success.

Loewe presented a collection that was intended to be "an alternate reality" and "a new beginning." Molly Lowe

That the big brands have starred this season in Paris shows how well the luxury giants did in 2021: the sector achieved sales worth 283,000 million euros, according to

The Financial Times,

and the outlook is for growth.

But the fashion ecosystem doesn't just thrive on corporate patriarchs.

Rick Owens broke with the friendly surrealism of other collections based on

techno

, smoke, darkness and clothes that were soon

metal mesh

tops

and sweatshirts that covered the face like a fetish mask.

Some models wore headdresses made of fluorescent tubes, like

raver darth vaders

which, ironically, forced them to lower their heads in order to enter the backstage, just as the ladies of the 18th century had to go sideways due to the volume of their skirts.

Also Courrèges, the French house with a futuristic heritage, showed the latest collection from its new designer, Belgian Nicolas di Felice, in the house's luminous headquarters overlooking the rooftops of Paris.

Di Felice designs on men and women at the same time, and for both he has versions of the classic vinyl jackets, fitted ribbed t-shirts, flared pants, abbreviated sweatshirts and garments with geometric cuts.

Finally, a reliable, young and sexy review of this eternal sleeping beauty of the sixties.

For Di Felice, fashion has a mission: “Many people expected it to continue doing what it has already done.

But it's not just shapes.

This brand speaks of passion, of love, of what clothes mean.

From the people you meet and what you build.”

Image from the parade of Rick OwensValerio Mezzanotti (Valerio Mezzanotti)


Source: elparis

All news articles on 2022-01-24

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