![]() (The designer, as you likely know, is also currently kicking it out of the park at Diesel.) The sailor stripes are pure Gaultier, yet the twists to this dress-the folded-over shoulder line, the knit panel which sinuously and unexpectedly juts out from the left hip-are pure Martens at Y/Project. One of the looks he was furiously working on, viewed courtesy of a 360-degree spin around via his iPhone, is a Breton marinière which has been turned into a dress and then hand-embroidered to ripple 3D-style with hundreds of faux coral fronds. “So, we are a bit stressed, but not for the first time.” “Apparently, with couture, you finish it the minute before it goes on the runway,” Martens said, with a laugh. And make no mistake, the pressure is indeed on. ![]() As the Times of New York pitched it, he just needs time.On a FaceTime call the day before Y/Project’s Glenn Martens unveils his vision of Gaultier haute couture-the second designer to do so, after Chitose Abe of Sacai last season-Martens was doing what he does so well: Exuding grace (and humor) under pressure. However Williams, I suspect, could still untie the knotty problem that is Givenchy. It’s good to speak to everybody.” Even if the risk in trying to speak to everyone is that you end up connecting with no-one. The beautiful thing about the brand is that it speaks to different women. ![]() So we built the collection together-it’s a dialogue between us. And that it would be more dramatic in the rain.” He added of Roitfeld’s involvement: “She understands the house and the Parisian woman. And the liquid in the hair… it would look incredible. Was Willams losing his mind when that storm came in? He feigned calm, saying: “I was thinking that their skin would look beautiful with the water on it. So this is a house with codes, after all. These, Williams said afterwards, were part of a series of archival looks that he and Roitfeld had dug up from the archives and reworked. Another dress was tied up at the back in a series of bows: simple but lovely. A red dress featured a gorgeous swooping rear hemline that curved from the shoulder to sacrum. The closing phase was rather magnificent, although the party was often at the back. He’d brought in Carine Roitfeld-no longer working with MaxMara-as a stylist and shifted the emphasis of what that newspaper’s writer Jessica Testa inferred was a house with no distinct codes. A fascinating piece in the New York Times had already created an anticipatory contextualization for what was a radical shift under Matthew Williams. You were better off wearing dark pants-that cork stained.īy the time the first models emerged there was blue above. We wiped them down and sat on our umbrellas to avoid getting soaked unmentionables. The set-up was a runway and benches made of cork. What had seemed an imminent catastrophe was scaled down by the time we arrived to mere potentially preventable disaster. Luckily Valentino had started so late, and, thanks to footwear dramas, gone on so long, that the fashion traffic jam was around 30 minutes late squeezing its way to this show. At the moment this Givenchy show was due to start in the Jardin des Plantes-outdoors-it was raining in a concerted and highly depressing manner.
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