@
CELINE Homme presents the new Summer 2022 collection ‘Cosmic Cruiser’
1616

CELINE Homme presents the new Summer 2022 collection ‘Cosmic Cruiser’

Men The video has been filmed on the Grand Gaou Island (Archipel des Embiez) in the Mediterranean Sea in June 2021 and showcase Freestyle Motocross riders from various teams.     Direction, Styling, Casting & Set Design are by Hedi Slimane ; hair by Esther Langham & Alisha Dobson ; make-up by Aaron de Mey.     The soundtrack “Up N Down” is an original soundtrack for CELINE by Izzy Camina, co-produced by Hedi Slimane for Cosmic Cruiser.     IT’S DIFFICULT TO PIN DOWN IZZY CAMINA. WITH FORMATIVE YEARS IN NEW JERSEY JUXTAPOSED AGAINST A LONDON BASED ADOLESCENCE, SHE CURRENTLY RESIDES IN A SMALL RURAL TOWN WEST OF NEVADA, AND EVEN NOW THE MULTI-HYPHENATE HERSELF STRUGGLES TO DESCRIBE HER MUSIC. “CYBERPUNK BRITNEY SPEARS?” SHE APPREHENSIVELY SUGGESTS IN ONE INTERVIEW. HER SELF-PRODUCED EP 'NIHILIST IN THE CLUB' INTRODUCES LEAD SINGLE AND PROJECT HIGHLIGHT "UP N DOWN", A TRACK NME DESCRIBED AS “A PAEAN TO THE SATURNALIA OF YOUTH AND ALL THE LOWS THAT COME AFTER”. CUE A CAREER HALTING PANDEMIC. CRAFTED OVER THE COURSE OF 2021, ANOTHER EVOLUTIONARY LEAP FROM IZZY CAMINA IS SET TO BOW BEFORE YEAR'S END. "I’VE BEEN RUNNING SINCE ADOLESCENCE" SHE SAYS, REFERENCING THE NEW MATERIAL’S URGENT NATURE, "THIS NEXT BODY OF WORK CAPTURES THE INTRICATE DANCE BETWEEN DREAD AND ACCEPTANCE, MANIA AND CALM. KNOWING THAT THE VOID IS AT MY FEET, YET NO LONGER FEARING IT."       The video has been filmed on the Grand Gaou Island (Archipel des Embiez) in the Mediterranean Sea in June 2021 and showcase Freestyle Motocross riders from various teams.     Direction, Styling, Casting & Set Design are by Hedi Slimane ; hair by Esther Langham & Alisha Dobson ; make-up by Aaron de Mey.     The soundtrack “Up N Down” is an original soundtrack for CELINE by Izzy Camina, co-produced by Hedi Slimane for Cosmic Cruiser.     IT’S DIFFICULT TO PIN DOWN IZZY CAMINA. WITH FORMATIVE YEARS IN NEW JERSEY JUXTAPOSED AGAINST A LONDON BASED ADOLESCENCE, SHE CURRENTLY RESIDES IN A SMALL RURAL TOWN WEST OF NEVADA, AND EVEN NOW THE MULTI-HYPHENATE HERSELF STRUGGLES TO DESCRIBE HER MUSIC. “CYBERPUNK BRITNEY SPEARS?” SHE APPREHENSIVELY SUGGESTS IN ONE INTERVIEW. HER SELF-PRODUCED EP 'NIHILIST IN THE CLUB' INTRODUCES LEAD SINGLE AND PROJECT HIGHLIGHT "UP N DOWN", A TRACK NME DESCRIBED AS “A PAEAN TO THE SATURNALIA OF YOUTH AND ALL THE LOWS THAT COME AFTER”. CUE A CAREER HALTING PANDEMIC. CRAFTED OVER THE COURSE OF 2021, ANOTHER EVOLUTIONARY LEAP FROM IZZY CAMINA IS SET TO BOW BEFORE YEAR'S END. "I’VE BEEN RUNNING SINCE ADOLESCENCE" SHE SAYS, REFERENCING THE NEW MATERIAL’S URGENT NATURE, "THIS NEXT BODY OF WORK CAPTURES THE INTRICATE DANCE BETWEEN DREAD AND ACCEPTANCE, MANIA AND CALM. KNOWING THAT THE VOID IS AT MY FEET, YET NO LONGER FEARING IT."      

SAINT LAURENT MEN'S SPRING & SUMMER 2022
1600

SAINT LAURENT MEN'S SPRING & SUMMER 2022

Men Green Lens is a large-scale installation by artist Doug Aitken, commissioned by Anthony Vaccarello for Saint Laurent. A living art-installation and a cultural stage, set in Venezia, Italy, where the city landscape creates a strong eco narrative within the artwork that speaks to the idea of the future world.     Located on the island of Isola Della Certosa, Green Lens is a living experiential artwork and also a destination, a place to explore, to inspire and to be inspired.     It will evoke the future through its crystalline reflective interior which reveals a kaleidoscopic view and dense botanic environment. It will be a freestanding artwork, and from the exterior, it will create a combination of reflections mixed with clouds, mist and wild green vegetation evoking a mysterious presence. Inside the sculpture there will be an enormous living kaleidoscope-like space that reflects the landscape, sky and the shifting surroundings.     This installation turns the landscape into a living abstraction.     Green Lens sparks dialogue that links the natural landscape with our future. In the 21st-century, we look toward to the future and how to harmonize with the natural environment, striving to create a new balanced world. We seek an environment where nature is empowered again, creativity is championed, and the weight of the past lifts, becoming fluid and inspiring.     In concomitance with Biennale of Architecture, the artwork will be accessible until the end of July, like a liquid architecture, creating a fully immersive environment. The idea is to encourage all visitors to look towards a positive view of the future, a synergy where natural landscape and innovation merge.     Green Lens will also be activated with a sequence of performances and conversations that are thought-provoking and inspiring, focusing on the future as interpreted by musicians, speakers and dancers. “What is the Future?” is the narrative threaded throughout the project. These activations will be filmed and released for the public to have access to a living artwork and stage for voices, creativity, culture, performance and music.     “Green Lens is a living artwork. It is both an artwork, installation and stage. It’s like a lighthouse, that one can journey to and have a very personal experience, while it also transmits light, ideas and questions. A focal point that allows all of us to share our ideas and visions for the future post Covid...a celebration and inquiry into the future.” - Doug Aitken     “Saint Laurent’s cult iconography always combined creative disciplines across art and fashion. Through those collaborations I want to merge different fields’ artistic visions in a unique artwork.” Anthony Vaccarello Green Lens is a large-scale installation by artist Doug Aitken, commissioned by Anthony Vaccarello for Saint Laurent. A living art-installation and a cultural stage, set in Venezia, Italy, where the city landscape creates a strong eco narrative within the artwork that speaks to the idea of the future world.     Located on the island of Isola Della Certosa, Green Lens is a living experiential artwork and also a destination, a place to explore, to inspire and to be inspired.     It will evoke the future through its crystalline reflective interior which reveals a kaleidoscopic view and dense botanic environment. It will be a freestanding artwork, and from the exterior, it will create a combination of reflections mixed with clouds, mist and wild green vegetation evoking a mysterious presence. Inside the sculpture there will be an enormous living kaleidoscope-like space that reflects the landscape, sky and the shifting surroundings.     This installation turns the landscape into a living abstraction.     Green Lens sparks dialogue that links the natural landscape with our future. In the 21st-century, we look toward to the future and how to harmonize with the natural environment, striving to create a new balanced world. We seek an environment where nature is empowered again, creativity is championed, and the weight of the past lifts, becoming fluid and inspiring.     In concomitance with Biennale of Architecture, the artwork will be accessible until the end of July, like a liquid architecture, creating a fully immersive environment. The idea is to encourage all visitors to look towards a positive view of the future, a synergy where natural landscape and innovation merge.     Green Lens will also be activated with a sequence of performances and conversations that are thought-provoking and inspiring, focusing on the future as interpreted by musicians, speakers and dancers. “What is the Future?” is the narrative threaded throughout the project. These activations will be filmed and released for the public to have access to a living artwork and stage for voices, creativity, culture, performance and music.     “Green Lens is a living artwork. It is both an artwork, installation and stage. It’s like a lighthouse, that one can journey to and have a very personal experience, while it also transmits light, ideas and questions. A focal point that allows all of us to share our ideas and visions for the future post Covid...a celebration and inquiry into the future.” - Doug Aitken     “Saint Laurent’s cult iconography always combined creative disciplines across art and fashion. Through those collaborations I want to merge different fields’ artistic visions in a unique artwork.” Anthony Vaccarello

FENDI PRESENTS THE COUTURE AUTUMN & WINTER 2021 COLLECTION
1580

FENDI PRESENTS THE COUTURE AUTUMN & WINTER 2021 COLLECTION

Fashion Week “Pasolini observed Rome become modern – and that is what is interesting to me: connecting eras, the old with the new, the past with the present.” – Kim Jones     If Kim Jones’ Couture debut traced his transition from England to Rome, then Autumn/Winter 2021 sees him settle in the Eternal City, where the poetics of Roman film director Pier Paolo Pasolini present a lens through which to explore the capital. “Rome is a fascinating city because it has so many pasts – and I was drawn to Pasolini because I have always been inspired by his vision of the world,” explains Jones. “He is something of an outsider in Roman history, but one whose voice remains constant.”     Pasolini’s perspective on reality is reflected and refracted throughout, with chapters of Rome’s history interwoven and addressed within a contemporary context. In a collection where nothing is quite as it seems, where forms and fabrics introduce infinite illusions, filmmaker Luca Guadagnino frames the show through his own understanding of Pasolini. “I have long admired Luca’s work – and, he is someone who, like Pasolini, touches on subjects which are relevant to now,” says Jones. “When a historian peers into history, they do it directly,” Guadagnino explains. “But when a master filmmaker and poet like Pasolini looks into the eyes of history, his gaze is a sublimating one. Through it, history becomes an urgent and delicate possession of now… the past enters the present and breathes our air.”     Overlapping temporalities are most directly expressed within pieces that reanimate antique garments, their furs and fabrics scanned and reprised as ghostly silk jacquards. Inset with Cornely embroidery and crystal beads, they locate a poetic transfiguration of the past within the present day. Elsewhere, life is breathed into the Roman statues that surround the FENDI Palazzo, their marble drapery now expressed through trompe l’oeil silks, and the arches they inhabit adapted into the heels of shoes. The strength of their silhouettes is translated into delicate lace mini dresses, where classic volutes are conjured through intricate embroidery.     The immortal allure of Italian stone, and the methods of its manipulation, appears as a constant conceit. Pietra dura inlays become supple leather intarsia; pressed leather pleats capturing the illusory spirit of Bernini’s sculptures. Formed from Italian marble, hand-carved jewellery ripples with movement, as if frozen in time. Mother of Pearl mosaics are layered across tulle dresses, handbags, and shoes, while a jumper is pieced in Persian lamb.     The cultural crossroads of Ancient Rome is reflected through a diverse cast, comprising models of all ages. “At the time, it was the centre of the world,” says Jones. “I wanted to include all of the people who would have inhabited it then, as well as now.” The spirit of FENDI, of looking to this city’s past as it projects towards the future, is revitalised once more. “Pasolini observed Rome become modern – and that is what is interesting to me: connecting eras, the old with the new, the past with the present.” – Kim Jones     If Kim Jones’ Couture debut traced his transition from England to Rome, then Autumn/Winter 2021 sees him settle in the Eternal City, where the poetics of Roman film director Pier Paolo Pasolini present a lens through which to explore the capital. “Rome is a fascinating city because it has so many pasts – and I was drawn to Pasolini because I have always been inspired by his vision of the world,” explains Jones. “He is something of an outsider in Roman history, but one whose voice remains constant.”     Pasolini’s perspective on reality is reflected and refracted throughout, with chapters of Rome’s history interwoven and addressed within a contemporary context. In a collection where nothing is quite as it seems, where forms and fabrics introduce infinite illusions, filmmaker Luca Guadagnino frames the show through his own understanding of Pasolini. “I have long admired Luca’s work – and, he is someone who, like Pasolini, touches on subjects which are relevant to now,” says Jones. “When a historian peers into history, they do it directly,” Guadagnino explains. “But when a master filmmaker and poet like Pasolini looks into the eyes of history, his gaze is a sublimating one. Through it, history becomes an urgent and delicate possession of now… the past enters the present and breathes our air.”     Overlapping temporalities are most directly expressed within pieces that reanimate antique garments, their furs and fabrics scanned and reprised as ghostly silk jacquards. Inset with Cornely embroidery and crystal beads, they locate a poetic transfiguration of the past within the present day. Elsewhere, life is breathed into the Roman statues that surround the FENDI Palazzo, their marble drapery now expressed through trompe l’oeil silks, and the arches they inhabit adapted into the heels of shoes. The strength of their silhouettes is translated into delicate lace mini dresses, where classic volutes are conjured through intricate embroidery.     The immortal allure of Italian stone, and the methods of its manipulation, appears as a constant conceit. Pietra dura inlays become supple leather intarsia; pressed leather pleats capturing the illusory spirit of Bernini’s sculptures. Formed from Italian marble, hand-carved jewellery ripples with movement, as if frozen in time. Mother of Pearl mosaics are layered across tulle dresses, handbags, and shoes, while a jumper is pieced in Persian lamb.     The cultural crossroads of Ancient Rome is reflected through a diverse cast, comprising models of all ages. “At the time, it was the centre of the world,” says Jones. “I wanted to include all of the people who would have inhabited it then, as well as now.” The spirit of FENDI, of looking to this city’s past as it projects towards the future, is revitalised once more.

Advertising
Advertising
Fall-Winter 2021/22 Haute Couture Collection
1578

Fall-Winter 2021/22 Haute Couture Collection

Fashion Week Painting is at the heart of the CHANEL Fall-Winter 2021/22 Haute Couture collection: "It was when I rediscovered these portraits of Gabrielle Chanel dressed up in black or white 1880s-style dresses, that I immediately thought about tableaux," explains Virginie Viard. “Works by Berthe Morisot, Marie Laurencin and Édouard Manet. There are impressionist-inspired dresses, skirts that look like paintings and a long white satin dress punctuated with black bows like Morisot's...”      It made perfect sense for this show, bursting with colours, to be held at the Palais Galliera, City of Paris Fashion Museum, a veritable institution of art and fashion, where the exhibition dedicated to Gabrielle Chanel continues. “Because I love seeing colour in the greyness of winter,” continues Virginie Viard. “I really wanted a particularly colourful collection that was very embroidered, something warm.”        Mikael Jansson, who took the pictures for the press kit while Sofia Coppola made the film and the teasers for the collection, photographed the actress and ambassador of the House, Margaret Qualley, wearing a jacket and A-line skirt in multicolour tweed over a bustier in pink broderie anglaise. Like an Impressionist painting, the sequinned tweed of a coat seems to be made up of a multitude of paint strokes. Blouses embroidered with mauve and pink sequinned motifs, or with little red, blue and yellow daisies on a black background, are tucked into low-waisted skirts in multicolour striped tweed. Pale pink and yellow tulle pompoms embellish a black paletot jacket, just like splashes of paint…         “There are dresses embroidered with water lilies, a jacket in a black tweed crafted from feathers with red and pink flowers,” says Virginie Viard. “I was also thinking about English gardens. I like to mix a touch of England with a very French style. It's like blending the masculine and the feminine, which is what I’ve done with this collection too. That twist is very much a part of who I am.”        #CHANELHauteCouture Painting is at the heart of the CHANEL Fall-Winter 2021/22 Haute Couture collection: "It was when I rediscovered these portraits of Gabrielle Chanel dressed up in black or white 1880s-style dresses, that I immediately thought about tableaux," explains Virginie Viard. “Works by Berthe Morisot, Marie Laurencin and Édouard Manet. There are impressionist-inspired dresses, skirts that look like paintings and a long white satin dress punctuated with black bows like Morisot's...”      It made perfect sense for this show, bursting with colours, to be held at the Palais Galliera, City of Paris Fashion Museum, a veritable institution of art and fashion, where the exhibition dedicated to Gabrielle Chanel continues. “Because I love seeing colour in the greyness of winter,” continues Virginie Viard. “I really wanted a particularly colourful collection that was very embroidered, something warm.”        Mikael Jansson, who took the pictures for the press kit while Sofia Coppola made the film and the teasers for the collection, photographed the actress and ambassador of the House, Margaret Qualley, wearing a jacket and A-line skirt in multicolour tweed over a bustier in pink broderie anglaise. Like an Impressionist painting, the sequinned tweed of a coat seems to be made up of a multitude of paint strokes. Blouses embroidered with mauve and pink sequinned motifs, or with little red, blue and yellow daisies on a black background, are tucked into low-waisted skirts in multicolour striped tweed. Pale pink and yellow tulle pompoms embellish a black paletot jacket, just like splashes of paint…         “There are dresses embroidered with water lilies, a jacket in a black tweed crafted from feathers with red and pink flowers,” says Virginie Viard. “I was also thinking about English gardens. I like to mix a touch of England with a very French style. It's like blending the masculine and the feminine, which is what I’ve done with this collection too. That twist is very much a part of who I am.”        #CHANELHauteCouture

DIOR PRESENTS THE HAUTE COUTURE AUTUMN-WINTER 2021-2022 COLLECTION
1575

DIOR PRESENTS THE HAUTE COUTURE AUTUMN-WINTER 2021-2022 COLLECTION

Fashion Week Reclaiming the values of haute couture after this period of restrictions when the Dior collections designed by Maria Grazia Chiuri were mainly presented through film. The materiality of fabric becomes form, while the subversive language of embroidery is expressed in a project that becomes a performance. Recalling the Salle aux Broderies in the Colonna Palace in Rome, the work Chambre de Soie, created by French artist Éva Jospin, serves as an impressive backdrop for the presentation of the dresses with their magnificent pleats, trains, and hand-woven chains that compose patterns on the body. Couture stirs unsuspected desires and reveals the existence of what we did not know. Like the avant-garde, it renders visible what one does not see. Through a mix of art and extraordinary savoir-faire, it defines the longings of a world in the midst of a profound transformation.   Reclaiming the values of haute couture after this period of restrictions when the Dior collections designed by Maria Grazia Chiuri were mainly presented through film. The materiality of fabric becomes form, while the subversive language of embroidery is expressed in a project that becomes a performance. Recalling the Salle aux Broderies in the Colonna Palace in Rome, the work Chambre de Soie, created by French artist Éva Jospin, serves as an impressive backdrop for the presentation of the dresses with their magnificent pleats, trains, and hand-woven chains that compose patterns on the body. Couture stirs unsuspected desires and reveals the existence of what we did not know. Like the avant-garde, it renders visible what one does not see. Through a mix of art and extraordinary savoir-faire, it defines the longings of a world in the midst of a profound transformation.  

Off-White™ Fall / Winter 2021: “Laboratory of Fun”
1573

Off-White™ Fall / Winter 2021: “Laboratory of Fun”

Fashion Week Off-White™ Fall/Winter 2021—revealed today during Haute Couture week in Paris—is a see-now, buy-now collection named “Laboratory of Fun.”     The title references Cedric Price’s “Fun Palace,” circa 1961. “Fun Palace” was an idea for a London-based convention center, formulated to represent a “university of the streets.” It was to provide a flexible framework for programmable spaces dedicated to creativity. Though the premise was never built, Off-White’s founder and creative director Virgil Abloh was influenced by the modernity and modularity of Price’s thinking—and its likening, in some ways, to the classic American shopping mall. In turn, “Laboratory of Fun” takes an aesthetically linear and structure-driven approach, harkening back to Abloh’s formal training as an architect. Precision silhouettes and mostly-monochrome looks stand out; a notable reduction in graphic elements and motifs begins to symbolize a new sense of clarity at the house. Furthermore, the designer Dieter Rams’ portfolio for the German consumer goods company Braun served as inspiration. As a result, “Laboratory of Fun” is collectively pared-back, measured and exacting—yet it is far from minimal. It’s the sartorial reflection of a methodical builder, working at their drafting table.     “This collection speaks in part to my roots as an architect,” says Abloh. “It signifies an evolution of the Off-White™ approach, continuing to blur the lines between creative disciplines and inspirations. It’s about pushing the aesthetic forward into a novel, highly explorable space.”     Both the womenswear and menswear components are anchored in a color palette drawn from Rams’ oeuvre at Braun: shades of gray, neutrals, and slightly attenuated mid-century-style oranges, blues and yellows are most visible.   Overall, the collection features elongated tailoring, including square-shouldered coat-dresses with extended—almost to the hip—single-button closures. Outsize cable-knits are stained with indigo dye; additional tailored blazers have sharp-cut shoulders and single-creased sleeves. Trouser and Bermuda shapes are boxy and roomy, while outerwear and select evening pieces are sewn with new Dieter Rams press studs (which have been manufactured for Off-White™ by COBRAX). A halter top evening dress depicts an adapted rendering of stair cladding and gangways; it’s a direct representation of space, movement, and the intersection of ergonomic engineering and clothes-making.   Additionally, boxed silhouettes manifest as cut-and-sewn pieces or sculptural garments, such as a rectangular, standing puffa vest. “Rams check” grids appear, recalling the designer, with further associations of Ludwig Mies van der Rohe and Philip Johnson. These perpendicular lines are sewn into wools, akin to markings on a blueprint. Single-breasted blazers, extended overcoats and knitwear pinned with metal accents, and separates with graffiti art by Pablo Tomek also feature prominently.   The accessories narrative at “Laboratory of Fun” revolves around spacious carriers, often with colorful, contrasting chain straps. Chunky boots and needle-thin heels bring dynamism to the soft rigor of the clothing, while polychrome sunglasses impart an eccentric touch.   “Laboratory of Fun” was presented in a streaming format on July 4 via Off-White’s newly redesigned website—it will remain viewable online over the next few months. The collection reveal also coincided with the opening of Off-White’s Paris flagship store, located at the intersection of Rue de Castiglione and Rue du Mont Thabor near Place Vendôme. The multi-level boutique, which features not only retail but also a café, exhibition spaces, and more, was designed in collaboration between Abloh and AMO, the think-tank branch of the architecture firm OMA.   On July 2nd and 3rd, Off-White™ Paris hosted “Imaginary FM,” a twist on a radio station that aired ahead of the Fall/Winter 2021 collection reveal on July 4th. “Imaginary FM” marked an evolution of Off-White’s “Imaginary TV” concept, in which multi-hyphenate creatives and individuals showcased and discussed various topics, music styles, work, and more, across a boundary-less medium. “Imaginary FM” saw 20 performances and segments over July 2nd and July 3rd, with a kick off by Tatyana Jane, appearances by Trinice McNally (I Support Black Women) and Jaimee Swift (Black Women Radicals), Bonnie Banane, Yard, Aleqs Notal, La Créole and collectives of creatives bringing their own style to Off-White’s airwaves.   To bring the imaginary to life, Off-White™ tapped Rinse France as the primary partner on “Imaginary FM.” Paris and London-based, Rinse is not only a radio station, but also a multi-activity hub that works in a 360-degree manner to support cultures and thinkers it believes in.   As part of the line up, the Grammy-winning artist M.I.A. gave guests a full performance of some of her most beloved songs, including Borders, Hip hop -Born free, Yala Warrior Princess and Paper Planes in celebration of “Laboratory of Fun.” The production featured Tamil dancers, and the singer wore Off-White™.   The Off-White™ FW21 collection is now available at Off-White™ boutiques, Off---White.com, Farfetch.com, and retail partners worldwide. Off-White™ Fall/Winter 2021—revealed today during Haute Couture week in Paris—is a see-now, buy-now collection named “Laboratory of Fun.”     The title references Cedric Price’s “Fun Palace,” circa 1961. “Fun Palace” was an idea for a London-based convention center, formulated to represent a “university of the streets.” It was to provide a flexible framework for programmable spaces dedicated to creativity. Though the premise was never built, Off-White’s founder and creative director Virgil Abloh was influenced by the modernity and modularity of Price’s thinking—and its likening, in some ways, to the classic American shopping mall. In turn, “Laboratory of Fun” takes an aesthetically linear and structure-driven approach, harkening back to Abloh’s formal training as an architect. Precision silhouettes and mostly-monochrome looks stand out; a notable reduction in graphic elements and motifs begins to symbolize a new sense of clarity at the house. Furthermore, the designer Dieter Rams’ portfolio for the German consumer goods company Braun served as inspiration. As a result, “Laboratory of Fun” is collectively pared-back, measured and exacting—yet it is far from minimal. It’s the sartorial reflection of a methodical builder, working at their drafting table.     “This collection speaks in part to my roots as an architect,” says Abloh. “It signifies an evolution of the Off-White™ approach, continuing to blur the lines between creative disciplines and inspirations. It’s about pushing the aesthetic forward into a novel, highly explorable space.”     Both the womenswear and menswear components are anchored in a color palette drawn from Rams’ oeuvre at Braun: shades of gray, neutrals, and slightly attenuated mid-century-style oranges, blues and yellows are most visible.   Overall, the collection features elongated tailoring, including square-shouldered coat-dresses with extended—almost to the hip—single-button closures. Outsize cable-knits are stained with indigo dye; additional tailored blazers have sharp-cut shoulders and single-creased sleeves. Trouser and Bermuda shapes are boxy and roomy, while outerwear and select evening pieces are sewn with new Dieter Rams press studs (which have been manufactured for Off-White™ by COBRAX). A halter top evening dress depicts an adapted rendering of stair cladding and gangways; it’s a direct representation of space, movement, and the intersection of ergonomic engineering and clothes-making.   Additionally, boxed silhouettes manifest as cut-and-sewn pieces or sculptural garments, such as a rectangular, standing puffa vest. “Rams check” grids appear, recalling the designer, with further associations of Ludwig Mies van der Rohe and Philip Johnson. These perpendicular lines are sewn into wools, akin to markings on a blueprint. Single-breasted blazers, extended overcoats and knitwear pinned with metal accents, and separates with graffiti art by Pablo Tomek also feature prominently.   The accessories narrative at “Laboratory of Fun” revolves around spacious carriers, often with colorful, contrasting chain straps. Chunky boots and needle-thin heels bring dynamism to the soft rigor of the clothing, while polychrome sunglasses impart an eccentric touch.   “Laboratory of Fun” was presented in a streaming format on July 4 via Off-White’s newly redesigned website—it will remain viewable online over the next few months. The collection reveal also coincided with the opening of Off-White’s Paris flagship store, located at the intersection of Rue de Castiglione and Rue du Mont Thabor near Place Vendôme. The multi-level boutique, which features not only retail but also a café, exhibition spaces, and more, was designed in collaboration between Abloh and AMO, the think-tank branch of the architecture firm OMA.   On July 2nd and 3rd, Off-White™ Paris hosted “Imaginary FM,” a twist on a radio station that aired ahead of the Fall/Winter 2021 collection reveal on July 4th. “Imaginary FM” marked an evolution of Off-White’s “Imaginary TV” concept, in which multi-hyphenate creatives and individuals showcased and discussed various topics, music styles, work, and more, across a boundary-less medium. “Imaginary FM” saw 20 performances and segments over July 2nd and July 3rd, with a kick off by Tatyana Jane, appearances by Trinice McNally (I Support Black Women) and Jaimee Swift (Black Women Radicals), Bonnie Banane, Yard, Aleqs Notal, La Créole and collectives of creatives bringing their own style to Off-White’s airwaves.   To bring the imaginary to life, Off-White™ tapped Rinse France as the primary partner on “Imaginary FM.” Paris and London-based, Rinse is not only a radio station, but also a multi-activity hub that works in a 360-degree manner to support cultures and thinkers it believes in.   As part of the line up, the Grammy-winning artist M.I.A. gave guests a full performance of some of her most beloved songs, including Borders, Hip hop -Born free, Yala Warrior Princess and Paper Planes in celebration of “Laboratory of Fun.” The production featured Tamil dancers, and the singer wore Off-White™.   The Off-White™ FW21 collection is now available at Off-White™ boutiques, Off---White.com, Farfetch.com, and retail partners worldwide.

IRIS VAN HERPEN PRESENTS ’EARTHRISE’ Autumn & Winter 2021-2022
1572

IRIS VAN HERPEN PRESENTS ’EARTHRISE’ Autumn & Winter 2021-2022

Fashion Week Iris van Herpen shows her latest collection ‘Earthrise’ during Paris Haute Couture Week on July, 5th 2021. With our planet positioned at the forefront of the global agenda more than ever before, ‘Earthrise’ explores the splendour of this blue body we call home by circling towards the amalgamated awareness to maintain the grandeur of the turning sphere we traverse along. In parallel to Van Herpen’s drive towards an interconnected approach to fashion, the 19 look collection narrates the circular processes that usher change in our sentient world by weaving a symbiotic thread between artisanal tailoring and organic craftsmanship, derived from the perception of our world as one living and breathing organism.     With the turn of the last century came the launch of Apollo 8, the first-ever crewed spacecraft to leave Earth’s orbit and witness the Earthrise from the Moon’s horizon. Astronauts looked over our revolving sphere from afar, to see a boundless, indescribable space; a living, breathing organism, unmarred by conflict, borders as well as hierarchies and all of the entrenched partisans that make up the minutiae of our quotidian lives. Against the darkness of the inky black vastness of space, they experienced an emotional shift: a cosmic perspective of oneness.     Contemplated as a metamorphic realisation, the expedition went beyond scientific headway, remaining a pivotal moment in our evolution as sensitive sapiens. ‘Earthrise’ symbolises this shift of an anthropocentric perspective — our discernment of time has never felt so spectral. Tasked to feel, rather than to count, this novel ethos was framed as ‘Earth-gazing,' to observe the intricacies of this cosmic view and the magnificence of our surrounding mythosphere. To challenge the immensity of space that surrounds our tellurian haven, Iris van Herpen, enraptured by the seductive ancient human dream to fly out into the stratosphere of the unfamiliar, collaborates with the female world- champion skydiver Domitille Kiger. Capering through the expansive skies, from the age of 15, the designer grew fascinated by the choreographed performance of her craft, fusing two diametrical opposed worlds of artistry and science.     Through Kiger’s graceful sky-dancing, she embodies a new meaning of earthly freedom, thwarting any fear with the spirit of transcendence. Through the extreme speed and Kiger's choreography, while sky-dancing, the custom Haute Couture gown reveals the turbulence of the intricate handwork. Made from thousands of blue spheres in colour gradients, embodying our 'blue marble’ home, the gown spins off in dazzling twists in an array of directions simultaneously.     The finale is paradoxically a meditative moment, depicting a single person floating in space, merging the elements of dance, exploration and the innovative mind through this sky-dance. The ultimate intricacy, softness and delicacy of Haute Couture are merged for the first time with the extreme sport of skydiving which requires ultimate resilience and toughness. ‘For ‘Earthrise’ it has been my dare to push delicate three-dimensional craftsmanship into the extreme spheres of 300 km an hour resilience-finding the ultimate corners of durability in the craftsmanship of Haute Couture.’     Fostering adventurous athleticism and fearlessness in this collection, Iris van Herpen stitches together these polar disciplines. Haute Couture and skydiving alike relinquish the thrill of leaving aside everything that holds one to the ground. The intimate creative process and the meticulous precise shaping and draping of fabric are imperative to both; for Kiger, the lifeline for each skydive, for Iris van Herpen the shaping of a garment into an empowering experience.     Typifying the feeling of unity, this season the maison collaborates with the Icelandic artist James Merry, the kinetic artist Casey Curran and French-British artist Rogan Brown. Spanning three looks in the collection, the atelier seamlessly weaves in Brown’s distinctive aesthetic which is inspired by the tradition of scientific illustration and results in incredibly detailed, delicate relief sculptures made from the accretion of multiple layers. Akin to the designer’s vision, process and materiality are paramount as large hand and laser-cut pieces are dissected from sheet after sheet of paper in careful scientific fashion with scalpel knife or laser, sometimes taking months to complete, the slow act of cutting repeating the long time-based processes that dominate nature: growth, decay and re-growth. The meticulous detailing goes beyond the eye's perception, where fabric is torn and expanded in multiple directions simultaneously through powerful force. The fabric’s evolution from plant, to weave, to plant again is mirrored in the various stages in these looks.     Evgueni Galperine’s composition evokes a transcending unison of space and time in which the skydiver travels. Igniting Tsunaina’s intimate then explosive vocals, Evgueni’s collaboration with the artist creates an invisible bond between the score and the visuals. An experimental hybrid of electronic and orchestral instruments, as well as planetary NASA recordings rippling through the composition, are melted with Tsunaina’s vocals, forming a collective oneness between mankind and nature.   As a continuation of van Herpen’s dedication to sustainability, ‘Earthrise’ marks a further chapter with Parley for the Oceans. Raising awareness of the fragility of our blue marble, multiple looks, in addition to the ones created in collaboration with Brown and the Skydive gown for Kiger, are crafted from Parley Ocean Plastic® made from upcycled marine debris by Parley's Global Cleanup Network.     Levitating against the clouds that encircle the dramatic natural cathedrals of nature’s Kingdom — the Dolomite Mountains — Film Director Masha Vasyukova challenges the inherent discernment of space and time by sequencing the linearity of time into a circular orbit. A portent portrayal of earthly virtue that ascents into a celestial scenery beyond the skies, the interconnected craftsmanship and layered anatomy of the looks pay homage to the anima mundi, the world as one living body. The magnificent environment around us nurturing an intrinsic connection between all living things on the planet, similar to the way the soul is connected to our bodies.     WATCH THE SHOW HERE: https://www.youtube.com/watch?v=Ap1oUBCznO4&feature=youtu.be Iris van Herpen shows her latest collection ‘Earthrise’ during Paris Haute Couture Week on July, 5th 2021. With our planet positioned at the forefront of the global agenda more than ever before, ‘Earthrise’ explores the splendour of this blue body we call home by circling towards the amalgamated awareness to maintain the grandeur of the turning sphere we traverse along. In parallel to Van Herpen’s drive towards an interconnected approach to fashion, the 19 look collection narrates the circular processes that usher change in our sentient world by weaving a symbiotic thread between artisanal tailoring and organic craftsmanship, derived from the perception of our world as one living and breathing organism.     With the turn of the last century came the launch of Apollo 8, the first-ever crewed spacecraft to leave Earth’s orbit and witness the Earthrise from the Moon’s horizon. Astronauts looked over our revolving sphere from afar, to see a boundless, indescribable space; a living, breathing organism, unmarred by conflict, borders as well as hierarchies and all of the entrenched partisans that make up the minutiae of our quotidian lives. Against the darkness of the inky black vastness of space, they experienced an emotional shift: a cosmic perspective of oneness.     Contemplated as a metamorphic realisation, the expedition went beyond scientific headway, remaining a pivotal moment in our evolution as sensitive sapiens. ‘Earthrise’ symbolises this shift of an anthropocentric perspective — our discernment of time has never felt so spectral. Tasked to feel, rather than to count, this novel ethos was framed as ‘Earth-gazing,' to observe the intricacies of this cosmic view and the magnificence of our surrounding mythosphere. To challenge the immensity of space that surrounds our tellurian haven, Iris van Herpen, enraptured by the seductive ancient human dream to fly out into the stratosphere of the unfamiliar, collaborates with the female world- champion skydiver Domitille Kiger. Capering through the expansive skies, from the age of 15, the designer grew fascinated by the choreographed performance of her craft, fusing two diametrical opposed worlds of artistry and science.     Through Kiger’s graceful sky-dancing, she embodies a new meaning of earthly freedom, thwarting any fear with the spirit of transcendence. Through the extreme speed and Kiger's choreography, while sky-dancing, the custom Haute Couture gown reveals the turbulence of the intricate handwork. Made from thousands of blue spheres in colour gradients, embodying our 'blue marble’ home, the gown spins off in dazzling twists in an array of directions simultaneously.     The finale is paradoxically a meditative moment, depicting a single person floating in space, merging the elements of dance, exploration and the innovative mind through this sky-dance. The ultimate intricacy, softness and delicacy of Haute Couture are merged for the first time with the extreme sport of skydiving which requires ultimate resilience and toughness. ‘For ‘Earthrise’ it has been my dare to push delicate three-dimensional craftsmanship into the extreme spheres of 300 km an hour resilience-finding the ultimate corners of durability in the craftsmanship of Haute Couture.’     Fostering adventurous athleticism and fearlessness in this collection, Iris van Herpen stitches together these polar disciplines. Haute Couture and skydiving alike relinquish the thrill of leaving aside everything that holds one to the ground. The intimate creative process and the meticulous precise shaping and draping of fabric are imperative to both; for Kiger, the lifeline for each skydive, for Iris van Herpen the shaping of a garment into an empowering experience.     Typifying the feeling of unity, this season the maison collaborates with the Icelandic artist James Merry, the kinetic artist Casey Curran and French-British artist Rogan Brown. Spanning three looks in the collection, the atelier seamlessly weaves in Brown’s distinctive aesthetic which is inspired by the tradition of scientific illustration and results in incredibly detailed, delicate relief sculptures made from the accretion of multiple layers. Akin to the designer’s vision, process and materiality are paramount as large hand and laser-cut pieces are dissected from sheet after sheet of paper in careful scientific fashion with scalpel knife or laser, sometimes taking months to complete, the slow act of cutting repeating the long time-based processes that dominate nature: growth, decay and re-growth. The meticulous detailing goes beyond the eye's perception, where fabric is torn and expanded in multiple directions simultaneously through powerful force. The fabric’s evolution from plant, to weave, to plant again is mirrored in the various stages in these looks.     Evgueni Galperine’s composition evokes a transcending unison of space and time in which the skydiver travels. Igniting Tsunaina’s intimate then explosive vocals, Evgueni’s collaboration with the artist creates an invisible bond between the score and the visuals. An experimental hybrid of electronic and orchestral instruments, as well as planetary NASA recordings rippling through the composition, are melted with Tsunaina’s vocals, forming a collective oneness between mankind and nature.   As a continuation of van Herpen’s dedication to sustainability, ‘Earthrise’ marks a further chapter with Parley for the Oceans. Raising awareness of the fragility of our blue marble, multiple looks, in addition to the ones created in collaboration with Brown and the Skydive gown for Kiger, are crafted from Parley Ocean Plastic® made from upcycled marine debris by Parley's Global Cleanup Network.     Levitating against the clouds that encircle the dramatic natural cathedrals of nature’s Kingdom — the Dolomite Mountains — Film Director Masha Vasyukova challenges the inherent discernment of space and time by sequencing the linearity of time into a circular orbit. A portent portrayal of earthly virtue that ascents into a celestial scenery beyond the skies, the interconnected craftsmanship and layered anatomy of the looks pay homage to the anima mundi, the world as one living body. The magnificent environment around us nurturing an intrinsic connection between all living things on the planet, similar to the way the soul is connected to our bodies.     WATCH THE SHOW HERE: https://www.youtube.com/watch?v=Ap1oUBCznO4&feature=youtu.be

AMI unveiled its Spring-Summer 22 collection through a film titled “L’Échappée Belle”
1562

AMI unveiled its Spring-Summer 22 collection through a film titled “L’Échappée Belle”

Fashion Week L’Échappée Belle – a French expression meaning the great escape. A short feature film, the spontaneous jaunt of a close-knitted group of friends. The title is an allegorical reference to a newfound freedom, to the outdoors, to better times ahead. It is a celebration of the joy of being together, much of which we have sorely missed in the past year.     The film is set on the grounds of a seemingly abandoned funfair at night, with its deserted alleys of stands, rides and carousels. Neon lights, strong pop colors and mirrors lend a fun and intemporal atmosphere to the location, while the emptiness brings an eerie, dream-like sensation, reminiscent of our once empty cities in lockdown.     The main characters: a group of friends, carefree, leaving the city for an escape in a more poetic, almost apocalyptic environment. They enjoy being together again, at long last. The friends take possession of the funfair, wandering around in a space only for them, a night of exploration of what the future will be, a night of liberty and discovery, in a metaphor of the passage between old world and new world, between lockdown and freedom..     The 6-minute film was directed by Alvaro Colom, the Spanish filmmaker and photographer, whose background as a dancer influences his work with a graceful, choreography-like flow. New York-based Alvaro regularly shoots some of the most sought-after names in fashion, for magazines such as Vogue and Vanity Fair, and has been the mind and lens behind multiple campaigns for top fashion houses.   This marks Alvaro’s second collaboration with AMI: he has previously signed Fall-Winter 21’s digital presentation “Le Défilé”— the most-watched presentation ever in the brand’s history.     THE SET   Alexandre Mattiussi pictured the Ami Funfair as the ideal setting for his great escape, L’Échappée Belle. Traditional rides, including a carousel, a mirror maze, bumping cars and a life-size ferris wheel -all dressed in neon lights-, were recreated inside a Parisian venue.     The alleys were transformed into a runway for the models, who acted as a group of friends escaping the city into this almost surreal scenario.     THE COLLECTION      AMI’s Spring-Summer 22 highlights the quintessential design spirit of the brand. The collection of the New Normal, intrinsically fresh and dynamic, yet intuitively elegant. The approach is free lighthearted. AMI’s effortless Parisian chic; its concept of wardrobe, expressive, wearable.     The collection is defined by its familiar palette, a vibrant mix between levels of tonalities: from pastels to strong, flashy colors, and muted, darker sophisticated ones -including dusty pink, bright fuchsia, deep burgundy, pale aqua and bright green-.     AMI’s iconic, modern silhouettes get sharper shapes, more volumes, and an utmost sartorial sense. Womenswear shows a newfound femininity, stronger and modern, with pieces that emphasize the waist, refined shoes, and all-over mesh embroideries.     L’Échappée Belle features a new range of bags in neutral colors that complement the energetic tones from the ready-to-wear collection: the Accordéon, AMI’s latest “it-bag” for Spring-Summer 22, a geometric shape with utilitarian feeling, and the Small Déjà-Vu - the reinterpretation on the Déjà-Vu, first seen in AMI’s Fall-Winter 21 runway. L’Échappée Belle – a French expression meaning the great escape. A short feature film, the spontaneous jaunt of a close-knitted group of friends. The title is an allegorical reference to a newfound freedom, to the outdoors, to better times ahead. It is a celebration of the joy of being together, much of which we have sorely missed in the past year.     The film is set on the grounds of a seemingly abandoned funfair at night, with its deserted alleys of stands, rides and carousels. Neon lights, strong pop colors and mirrors lend a fun and intemporal atmosphere to the location, while the emptiness brings an eerie, dream-like sensation, reminiscent of our once empty cities in lockdown.     The main characters: a group of friends, carefree, leaving the city for an escape in a more poetic, almost apocalyptic environment. They enjoy being together again, at long last. The friends take possession of the funfair, wandering around in a space only for them, a night of exploration of what the future will be, a night of liberty and discovery, in a metaphor of the passage between old world and new world, between lockdown and freedom..     The 6-minute film was directed by Alvaro Colom, the Spanish filmmaker and photographer, whose background as a dancer influences his work with a graceful, choreography-like flow. New York-based Alvaro regularly shoots some of the most sought-after names in fashion, for magazines such as Vogue and Vanity Fair, and has been the mind and lens behind multiple campaigns for top fashion houses.   This marks Alvaro’s second collaboration with AMI: he has previously signed Fall-Winter 21’s digital presentation “Le Défilé”— the most-watched presentation ever in the brand’s history.     THE SET   Alexandre Mattiussi pictured the Ami Funfair as the ideal setting for his great escape, L’Échappée Belle. Traditional rides, including a carousel, a mirror maze, bumping cars and a life-size ferris wheel -all dressed in neon lights-, were recreated inside a Parisian venue.     The alleys were transformed into a runway for the models, who acted as a group of friends escaping the city into this almost surreal scenario.     THE COLLECTION      AMI’s Spring-Summer 22 highlights the quintessential design spirit of the brand. The collection of the New Normal, intrinsically fresh and dynamic, yet intuitively elegant. The approach is free lighthearted. AMI’s effortless Parisian chic; its concept of wardrobe, expressive, wearable.     The collection is defined by its familiar palette, a vibrant mix between levels of tonalities: from pastels to strong, flashy colors, and muted, darker sophisticated ones -including dusty pink, bright fuchsia, deep burgundy, pale aqua and bright green-.     AMI’s iconic, modern silhouettes get sharper shapes, more volumes, and an utmost sartorial sense. Womenswear shows a newfound femininity, stronger and modern, with pieces that emphasize the waist, refined shoes, and all-over mesh embroideries.     L’Échappée Belle features a new range of bags in neutral colors that complement the energetic tones from the ready-to-wear collection: the Accordéon, AMI’s latest “it-bag” for Spring-Summer 22, a geometric shape with utilitarian feeling, and the Small Déjà-Vu - the reinterpretation on the Déjà-Vu, first seen in AMI’s Fall-Winter 21 runway.

GIVENCHY PRESENTS SPRING 2022 WOMEN’S & MEN'S READY-TO-WEAR PRECOLLECTION
1561

GIVENCHY PRESENTS SPRING 2022 WOMEN’S & MEN'S READY-TO-WEAR PRECOLLECTION

Fashion Week Creative Director Matthew M. Williams celebrates freedom and individual style with the graphic artist Chito.     “In my collections, I always speak to lived reality. For Spring 2022, our first pre-collection runway show, I wanted to bring together my American roots and my brand new life in Paris. There’s an energy of striking out for a new adventure, of drawing on something familiar yet creating something completely new. Chito made an ideal collaborator because we share that storyline; we speak the same language. Like me, he expresses his distinct visual signatures through unique pieces that give people total freedom to make creations their own personal statement.” Matthew M. Williams, Creative Director, Givenchy     With the Givenchy Spring 2022 pre-collection, Creative Director Matthew M. Williams expands on the new tone and attitude he has established for the House by celebrating two cultures and two loves — his homeland, and France, the country he now calls home.     A video shot by Jasmine Loignon evokes Matthew M. Williams’ journey from the U.S. to France. It opens with Lady Liberty beckoning Givenchy women and men to strike out in search of urban adventure and they roam the city freely in a rich, slightly Surreal layering of cross-border references. A spirit of bridging worlds — with a runway set amid a Paris train yard — becomes an ideal metaphor for the Creative Director’s first artistic collaboration for Givenchy: a playful, directional dialogue with the Seattle-born, Mexico-based artist Chito for clothes, accessories and RIMOWA suitcases. In the closing shot, New York and Paris become one. Creative Director Matthew M. Williams celebrates freedom and individual style with the graphic artist Chito.     “In my collections, I always speak to lived reality. For Spring 2022, our first pre-collection runway show, I wanted to bring together my American roots and my brand new life in Paris. There’s an energy of striking out for a new adventure, of drawing on something familiar yet creating something completely new. Chito made an ideal collaborator because we share that storyline; we speak the same language. Like me, he expresses his distinct visual signatures through unique pieces that give people total freedom to make creations their own personal statement.” Matthew M. Williams, Creative Director, Givenchy     With the Givenchy Spring 2022 pre-collection, Creative Director Matthew M. Williams expands on the new tone and attitude he has established for the House by celebrating two cultures and two loves — his homeland, and France, the country he now calls home.     A video shot by Jasmine Loignon evokes Matthew M. Williams’ journey from the U.S. to France. It opens with Lady Liberty beckoning Givenchy women and men to strike out in search of urban adventure and they roam the city freely in a rich, slightly Surreal layering of cross-border references. A spirit of bridging worlds — with a runway set amid a Paris train yard — becomes an ideal metaphor for the Creative Director’s first artistic collaboration for Givenchy: a playful, directional dialogue with the Seattle-born, Mexico-based artist Chito for clothes, accessories and RIMOWA suitcases. In the closing shot, New York and Paris become one.

Jacquemus presents the new collection "La Montagne" for Spring & Summer
1559

Jacquemus presents the new collection "La Montagne" for Spring & Summer

Fashion Week After pausing their shows for a year, they have arrived at La Montagne. They set out to explore men’s and women’s fashion once again together and with exhilaration; to elevate a Pop feeling; to reinvent our codes with extra strength.     Thus, we drew inspiration from trek and ski garments: crisp, technical fabrics; a mix of earthy and vibrant colours; reinterpreted outerwear; carabiners and strap systems that are both decorative and functional. Yet we also integrated lingerie features, interpreting contoured shapes and details in our own language of sensuality. Styling crosses over while proportions are constantly redrawing the body – from second-skin ribbed knits to ample, fold-over pants cinched with cord. In this shared wardrobe, men wear crop tops and women wear large cargo pants. The outcome: silhouettes that develop sport references with sexiness – at once multipurpose and exciting at first sight.     The collection proposes sharp constructions throughout: tailoring in stretch wool that is soft and fluid, or else lightly padded. Pants are cut long and lean with hook-and-eye fastenings that create flared legs. Dresses in viscose, lycra and mohair are similarly fitted and include slinky columns and angular skirts with delineated waistlines and deep slits. Crisp, coated wool jackets and poplin shirts are assembled with modular details such as an integrated belt bag or detachable pockets.     Outerwear garments are reimagined with a streetwear slant: jackets in ripstop or impermeable fabrics; detachable elements that transform into shorts; thumbholes in fluffier knits. Shearling makes its debut – from cropped to oversized, natural camel and ivory to crystal blue.     Layering takes many forms – from second-skin knits visible under larger volumes, to hybrid roll-up bustiers and harnesses worn over blouses and shirts. Colours are layered throughout the line-up, too. Tonal groupings of ecru, sand, khaki green and darker brown alternate with a vivid sport-inspired palette comprising saturated red, orange and shades of pink. For balance, cool blues are accented with optic green. Black reframes the sport attitude with sophisticated allure.     Surfaces are layered with fine straps and custom hardware – shiny gold clips and clasps, lingerie finishings and signature Jacquemus nameplates. Floppy flower petals are tacked onto puffer jackets for dimension, in addition to appearing as an all-over tonal or contrast motif.     All materials are of European origin, which allows for improved traceability and lower transport time, ultimately redu- cing the carbon footprint. Suppliers are largely eco-responsible in their manufacturing methods.     The new bag, Ciuciu, offers a compact horizontal shape that is rigid and boxy with an exaggerated chain and thick strap boasting a functional pocket. Jacquemus socks in recycled ribbed cotton, offered in a spectrum of complemen- tary hues, convey the completeness of each look.     Says Simon, “For this collection, after such a particular year, I wanted to gather people inside and share a fashion moment together. I wanted to focus on the clothes, the silhouettes, the colours, the fabrics, the details, and the energy of the models. I wanted the set to be minimal and sharp, recreating an abstract artistic mountain that portrays the ins- piration of the collection.” After pausing their shows for a year, they have arrived at La Montagne. They set out to explore men’s and women’s fashion once again together and with exhilaration; to elevate a Pop feeling; to reinvent our codes with extra strength.     Thus, we drew inspiration from trek and ski garments: crisp, technical fabrics; a mix of earthy and vibrant colours; reinterpreted outerwear; carabiners and strap systems that are both decorative and functional. Yet we also integrated lingerie features, interpreting contoured shapes and details in our own language of sensuality. Styling crosses over while proportions are constantly redrawing the body – from second-skin ribbed knits to ample, fold-over pants cinched with cord. In this shared wardrobe, men wear crop tops and women wear large cargo pants. The outcome: silhouettes that develop sport references with sexiness – at once multipurpose and exciting at first sight.     The collection proposes sharp constructions throughout: tailoring in stretch wool that is soft and fluid, or else lightly padded. Pants are cut long and lean with hook-and-eye fastenings that create flared legs. Dresses in viscose, lycra and mohair are similarly fitted and include slinky columns and angular skirts with delineated waistlines and deep slits. Crisp, coated wool jackets and poplin shirts are assembled with modular details such as an integrated belt bag or detachable pockets.     Outerwear garments are reimagined with a streetwear slant: jackets in ripstop or impermeable fabrics; detachable elements that transform into shorts; thumbholes in fluffier knits. Shearling makes its debut – from cropped to oversized, natural camel and ivory to crystal blue.     Layering takes many forms – from second-skin knits visible under larger volumes, to hybrid roll-up bustiers and harnesses worn over blouses and shirts. Colours are layered throughout the line-up, too. Tonal groupings of ecru, sand, khaki green and darker brown alternate with a vivid sport-inspired palette comprising saturated red, orange and shades of pink. For balance, cool blues are accented with optic green. Black reframes the sport attitude with sophisticated allure.     Surfaces are layered with fine straps and custom hardware – shiny gold clips and clasps, lingerie finishings and signature Jacquemus nameplates. Floppy flower petals are tacked onto puffer jackets for dimension, in addition to appearing as an all-over tonal or contrast motif.     All materials are of European origin, which allows for improved traceability and lower transport time, ultimately redu- cing the carbon footprint. Suppliers are largely eco-responsible in their manufacturing methods.     The new bag, Ciuciu, offers a compact horizontal shape that is rigid and boxy with an exaggerated chain and thick strap boasting a functional pocket. Jacquemus socks in recycled ribbed cotton, offered in a spectrum of complemen- tary hues, convey the completeness of each look.     Says Simon, “For this collection, after such a particular year, I wanted to gather people inside and share a fashion moment together. I wanted to focus on the clothes, the silhouettes, the colours, the fabrics, the details, and the energy of the models. I wanted the set to be minimal and sharp, recreating an abstract artistic mountain that portrays the ins- piration of the collection.”

loading
More articles