Yolk-yellow peeked out beneath coffee-brown. Dove-grey and camel-beige. Poetic black and elegant indigo-blue. As you can see right away, Christophe Lemaire‘s autumn-winter 2017 collection for men was a beautiful conversation between colours. And the clothes were beautiful too, in every meaning of this word. I’m absolutely a Lemaire-type of person and I would wear anything coming from this collection right now. The loose-fit of pants; perfectly tailored pea-coat; parka jacket that would stay in my wardrobe for ever. Aah. Yet, it’s all distinctively French, and the collection quietly nods to the existentionalist-writer style. Albert Camus, for instance.
Christophe Lemaire and Sarah-Linh Tran are a love couple. Simultaneously, they are two creative minds working under the same roof – Lemaire. It’s a pleasure to see how their designs for women and men evolve from season-to-season, and become quintessential in Parisian wardrobes.
At Lemaire, style is a conversation between feminine silhouettes and masculine forms: there’s a soft, middle point in-between those two universes. Also, it’s a sense of individuality, and attitude. Christophe and Sarah-Linh understand that through nonconforming styling, one-of-a-kind accessories (take the wooden-bags) and even the statement show-closing, which involves models to walk around the venue randomly, in a real-life motion. For spring-summer 2017, the designers proved they aren’t only masters of total-looks; they know what’s clothes-making. Crinkled dress worn over over-sized pants; peculiar volume cognac-brown coats. A dancer’s tank-top, pleated skirt and knitted, dove-grey tights – that’s the most sensual look of the season. If you ask me, I live for such fashion moments.
Christophe Lemaire‘s utterly French outing for his autumn-winter 2016 wasn’t just about models, who presented the clothes. The girls at Lemaire show glanced at the audience in a naturally captivating way – as if they weren’t models, but women who wear Christophe’s seductive dresses, felt wool pants and low-heeled shoes on daily basis. The approach stays always the same, with just a few additions to the line.
Lemaire leaves me wanting more. I want to see even more of it in 2017!
9 1/2 Weeks directed by Adrian Lyne is a cult film from the 80s, blurring the lines between refined romance and subtle erotica. Elizabeth McGraw (played by super-bombshell, Kim Basinger) and John Gray (young Mickey Rourke) find each other in New York’s Chinatown, and their relationship becomes a journey of love with ups and downs.
But what really strikes you, when you watch the film, is this something sensual about Elizabeth’s clothing. Her knitted sweater is three sizes too big, but the viewer is appealed by the way her body is hidden. As an assistant of art gallery curator, Liz prefers unconventional for her daily wear: pastel-blue tights, Jane Birkin-like basket and her favourite cocoon trench-coat. When with John, she loves her boyfriend’s businessman wardrobe, and choses to wear tailored blazers with shoulder pads and pin-stripe pants. No wonder why the two shop at Comme Des Garçons-like store (which in fact might be one), filled with Japanese avant-garde garments.
New York fashion scene was going through a lot, and all-black was a statement. For exhibition openings, Elizabeth was likely to be seen in a black mini-dresses with exposed shoulder, wearing dark tights of course. Watching this film, I just can’t stop thinking that fashion hasn’t changed even a bit. From Lemaire‘s slouchy shirt-and-pants chic to Jacquemus over-sized jackets, it’s clear that the spirit of 80s feels relevant up to today. While Anthony Vaccarello’s spring-summer 2017 debut for Saint Laurent is pure 9 1/2 Weeks, really: leather secretary skirts, strip-tease-perfect cocktail dresses, killer heels.
From left: Jacquemus AW16; Saint Laurent SS17; Celine AW14.
From left: Lemaire SS17; Lemaire AW16; Lemaire AW14.
Design & Culture by Ed 