At Lanvin, Lucas Ossendrijver had lines of poetry circling waists: “It doesn’t matter right or wrong,” read one. He also splattered his spring collection liberally with patches, graphic bands, photo prints and symbols, including many arrows
Riffing on the growing popularity of personalization in fashion, Faith Connexion took its heavily distressed interpretation of street style to new levels of unorthodoxy for spring.
Jonny Johansson, creative director of Acne, masterminded a strange and interesting game of musical chairs in the romantically ravaged interior of the Lycée Charlemagne. Every 60 seconds or so, the PA would stop pumping and his models would get up and pull their metal-legged chairs here and there across the floor before sitting down again once the tunes resumed.
There were piles of gravel and pileups of not-always-summery garments at Sacai’s spring show held in an orangerie at the Jardins du Luxembourg. The dust the models kicked up was echoed in the dry, talcum texture of the fabrics and shades ranging from greige to peony pink.
Like all good nights spent sweat-drenched by strobe light, there was so much going on at this Kenzo show that recalling all of it afterwards, even as you stumbled euphoric out the door into the glare of morning sunshine, represented a challenge.
Given the shock of the Brexit vote that coincided with Day Three of the Paris men’s shows, it was hard not the think of roiling currencies watching Givenchy’s parade of military parkas in greenback prints that approximated camouflage. Shame on us because Riccardo Tisci had something more lofty in mind. “Spirituality, seeing with your third eye,” he said backstage. “Money sometimes makes us forget that.”
David Bates II arrives in Los Angeles with ambition and purpose, captured through the cinematic lens of Tony Duran in a striking editorial where grit meets beauty.