‘I like it when things get mixed up,’ said Viard.Īnother cinematic influence came from Kristen Stewart, the American actress and house muse. Elsewhere, patchwork motifs, photographic prints and subtly juxtaposed elements lent a feeling of collage. Here, light touches of feather and delicate sparkling paillettes adorned beautifully cut tweed tailoring, the easy silhouette reminiscent of the costumes in Last Year at Marienbad and their simplicity of line. Such elements made for a deeply desirable collection from Viard, who is slowly making a signature at the house, defined by a feeling of simplicity, of stripping back, but nonetheless illuminated with subtle frissons of glamour and craft. ‘Marienbad, the nouvelle vague, the allure according to Gabrielle Chanel, Karl, the night, feathers, sequins, heels.’
‘The films we have seen, those that possess us and those we invent for ourselves,’ said Viard of the collection’s starting point. For her S/S 2023 collection, artistic director Virginie Viard looked back towards this moment for a collection which mused more widely on film’s power to seduce. In 1961, Gabrielle Chanel designed the dresses worn by French actress Delphine Seyrig in Alain Renais’ Last Year at Marienbad, a classic of French cinema’s new wave. Its usefulness in society and in culture today.’ ‘For this collection, I wanted to explore the purpose of fashion, its reason. ‘This is not an easy moment to create fashion,’ she said. Adjustable toggle fastenings ran throughout nylon bustiers fastened with slide-release buckles. Wide bum bags with two large front pockets – in denim or nylon – sat low on the waist. Lightweight nylon parkas became zip-up dresses. This idea of utility ran throughout the collection. ‘ is not a time for meaningless fashion.’ ‘This collection is about fashion born from reality, and born for reality, to be placed back into that context,’ she elucidated in the show notes. It has meant an exploration of archetypal, near-banal garments this season at Miu Miu, the opening look comprised two layered T-shirts and a featherweight knit on top, recalling undergarments in their simplicity. Recent seasons have seen Miuccia Prada – at both Miu Miu and her eponymous label – search for what she called ‘the idea of directness’ last month after her and Raf Simons’ S/S 2023 Prada show in Milan. ‘These are the custodians of a story that endures.’ ‘The infinitely large and the infinitely small come together on silhouettes, inviting a second look.’ The result was something both tough and playful at once a near-fetishistic celebration of the elements which make Louis Vuitton unique – the symbolic monogram, the hardware of its handbags – zoomed in, highlighted, ‘given their due’. ‘It's a stylistic exercise that re-evaluates the proportions of clothing and its adjuncts, one in which the codes of femininity unsettle scale,’ explained the collection notes.
Dior fashion show runway zip#
As such, zip pulls were blown up to the size of a hand vast eyelet belts were printed onto perforated leather tailoring huge pochette handbags, decorated with the Louis Vuitton monogram, appeared like one of the house’s purses had been multiplied to several times its size. Something similar happened in the collection itself, which Nicolas Ghesquière said had a focus on femininity – ‘glorifying its complexity, magnifying it, putting it in the spotlight’. Louis Vuitton’s show set – a ‘pulsating monster flower’ by artist Philippe Parreno – acted something like a funhouse hall of mirrors, with rows of flashing light bulbs and slowly turning mirrors altering perceptions of perspective and scale.
(Image credit: Courtesy of Louis Vuitton)
0 kommentar(er)
