“We wanted a more brutal way of doing things,” confessed Dries Van Noten after his spring-summer 2017 show in Paris. “We just started to chop up garments and throw flower prints on. Everything contrasting!” Indeed, “contrast” is a fitting term for Dries’ multi-faceted outing of opulent gowns embroidered with layers of jewels and draped in silks. Intricately embellished high-necked blouses with Victorian sleeves were kept in eye-killing shades of yellow and blue, while fish-net elements peeked out from underneath her soft cashmere knits and glamorous evening-gowns. The woman portraited by Van Noten this season has nothing against street-wise: just look at the range of satin bomber jackets. Unlike Marchesa Casati, last seaon‘s muse, it’s not about one specific woman for spring. The designer shares only one tip – whoever she’s, she dresses according to her mood, from the most noir and dramatic looks, to most mesmerising colour combinations. The rest is left for you to intepret.
After Alber Elbaz left Lanvin, Bouchra Jarrar‘s appointment as the creative director was, hmm, promising. But now, the pain after Alber’s departure is even more intense. Jarrar’s first runway collection for the brand, which was found by Jeanne Lanvin in 1889, rather looked plain than chic. The spell was broke.
Actually, I felt surprised that Bouchra’s debut collection would look so. Haute couture outings at her namesake brand, currently closed because of the new job, were simply beautiful. I loved her minimal approach to womenswear, focused on top-notch tailoring and dreamy detailing. Spring-summer 2017 at Lanvin is quite opposite: to me, it’s chaotic. Lace-trimmed dresses, feathers there, florals here. Suddenly, there’s a patent-leather jumpsuit out of nowhere. Something of glam-rock in those zebra-print vests. Meticulously embroidered slip-dress worn with an over-sized cardigan. Jewellery has always been an important part at Lanvin, and Jeanne had a soft-spot for pearls, specifically. In case of Bouchra, necklaces presented on the models looked like excessively layered accessories, without any soul behind it. And the stark contrast in the range of dresses – from slit gowns which make me think of sultry Alexandre Vauthier creations for Rihanna, to a baggy piece which won’t look flattering on any body type, there’s a mish-mash of everything and nothing. HOPE it’s just a shy start. If the next few collections will have a similar manner – Lanvin is doomed for good.
Sébastien Meyer and Arnaud Vaillant presented their third collection for Courrèges, and although it was fairly slammed by the critics, I loved how this couple (both in life and at work) continue to re-invent this historic house. The primary focus was on dresses, which used to be André Courrèges’s best-selling signatures. Kept in frivolous mini lengths and polished white, the silhouettes matched the modernist approach to fashion of the brand’s founder. But also, they appeared to look like perfect dresses for a Courrèges girl of today. The collection featured patent-leather jackets with the brand’s arty logo, and lovely suede bikers worn over flares. Oh, and those Matrix glasses. Lily and Lana Wachowski had their own vision of the future world; Meyer and Vaillant re-image the term “contemporary” in Paris.