A hybrid Paris Fashion Week continued on Wednesday featuring a stand out live runway show from the socially perverted Kenzo, but no sign of any A-list celebrities. Here are some highlights. Kenzo’s show was a fairy tale in nature. Guests smiled as they breathed in the fresh air of the inner city garden amid the sound of the fountain. Large umbrellas placed between rose bushes marked show seating, small wooden stools, ensuring a safe distance between them. Guests were delighted to discover a pot of honey on each stool. The “Hunt of Montmartre” has been built near the Sacre Coirie Church as part of a city-wide initiative to revive the dwindling bee population. For Felipe Oliveira Baptista, bees were more than a pretentious gimmick, and not just the sweetness in the pot – it was also to be found in creative, bee-themed designs.
The designer used Safari or Trek’s Kenzo Touchstone, and re-interpreted the sand dust splatter as a pure bee mask. At first glance, the sheer fabric of the headwear was paired with a large floppy hat. In clever creative drama, Oliveira Baptista developed the camouflage effect using printed vermilion flowers. The colors were eye-popping, either staple or acid and the silhouette was tight and sporty, or flowing and orphaned. The collection was also defined by size. One look featured a gauze visor in peach yellow that fell straight down from a round cap in the shape of a column tube, and the boots were geometric sandals with bubble-shaped soles that covered the inner lining of a bee. Used to draw
Thinking outside the box, Balmain tackled the question of whether a low, virus-era fashion week would fail to attract Parisian star power. In its Wednesday night show, the computer screen played a trick on the guests. Behind each Front Row seat are the names of “Usher,” “Cindy Crawford,” “Jennifer Lopez” and “Chris Jenner” written in white calligraphy writing. The audience cheered and took pictures of the screen. Still, they could only laugh when the show started. Each screen lit up to reveal pre-taped recordings of each celebrity who failed to make it due to the ban of the virus – whichever part of the world they were located in – pretending to watch the catwalk show. It was a moment of mild relief, but three rows of vacant VIP seating also underscored how seriously the virus has affected the functioning of the fashion industry. The clothing was typical Olivier Rousting in his experience, and moved in a monochrome direction. A catchy retro soundtrack from Frank Sinatra to David Bowie, interlocking black and white geometric patterns that were at the peak of the 1980s – almost tubular – shoulders that carried the eye to the cine waist and bell bottoms. In some designs, the eye-popping acid yellow catches a tuxedo. Loose and shiny sequined jackets stopped the pop in the early 1980s, as were large gold buttons on the tuxedo sleeve. Sheer split leg glitter skirts added essential rostening sensuality, as well as skinted leather pants. But Balmain was more about the show than fashion, and the originality of this season was to be found primarily in the eye-catching presentation.
Patou became the freshest example of last year of a relic of the iconic house in the vein of Sheparelli, Courage and others. A year ago, artistic director Gilliam Henry first made his debut in 1914 to acclaim for the founding by Jean Pato. Pato – a staunch rival of Coco Chanel – was considered a fashion pioneer, and was widely one of the first designers. Sporty styles and use of a monogram. There is still much for the former carav designer for Henry. It handled spring-summer flowers, powder colors, vast amounts, Juliet sleeves and feathers on the sides of the skirt – as well as the establishment of an old-fashioned clothing salon – an old veneer. Whereas, the pato signature sportwear (the founders of the house dared to wear knee-length cut tennis and finished the flopper style) were seen to bias the huge cuffs and skirts.
The fashion industry faced a potentially deadly global epidemic to replace its useless and non-ecological system of invitation. Typically, households compete to produce the most eye-catching, inventive and flamboyant show invitations, often delivered by gas-cruising couriers to each guest’s address with little thought to the environment. This season, due to the virus and the uncertainty surrounding the fashion show schedule, many top houses such as Balmain opted to invite guests via email. Some who sent physical invitations, such as Kinzo, used eco-paper.
Highly famous in his native Japan, award-winning designer Kunihiko Morinaga is known for daring concepts that combine art and fashion – such as a square box that becomes a trench coat when the box ribbing is taken out. The fashion-forward house has also built a huge fan base in Paris since it landed here in 2014 for its intellectual design and original use of technical clothing. For Spring-Summer 2021, the brand was occasionally touched upon as one of the big trends from earlier this season: eye-popping colors. The acid ocher was the color of a floor-length dress-cape hybrid over a sapphire blue gown with layered frills at the hem. The colored headpieces resembled origami works of art, in contrast to the bright colors of lipstick. A large part of the sporty coat-dress fills all the way down, making it look part Marie Antoinette, part jellyfish.
(This story has been published from a wire agency feed without textual modifications. Only the title has been changed.)
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