The name Kim Jones dominates Paris fashion In the second week of tireless British, the Dior Men’s designer returns to the catwalk for his latest couture collection for Fendi.
Follow the steps of the late Karl Lagerfeld Being at the creative leadership of the Roman house was no easy task – but Jones continues to work with his contemporary sensibility into opulent designs to create the eternal city.
Here are some highlights from the final day of the spring 2022 couture collection:
Fendi’s Rome
Fragment of architecture industry, brightly lit, hangs from a dark runway inside the neoclassical Brongniart Palace. Above it, for added drama, hovered a giant ball of white light. This, says Jones, is the realm of “celestial Rome” – reinterpreted with his irreverent eye.
This season’s inspiration seems mundane enough at first: Jones’ walk to work at Fendi atelier in Rome, where he traversed historic sites only to arrive at a contemporary environment. The designs, however, explored a combination of his “statue-like marbles” on his commute and “ecclesiastical aesthetics” with another very sensual, futuristic vision.
The models stepped out into the flickering light, in a glossy effect that showed they had just been created by some heavenly tailor.
The designs are all slick. A shimmering black robe with a turtleneck and cap evokes a priest’s robe – with the model holding a beaded string. The dress had a deep slit, her legs were exposed, and her head was bowed provocatively.
Elsewhere, a black silk robe with shimmering armor-like embroidery looks part heavenly princess, part warrior. The model holds a handbag resembling a royal ball or a spiked ball. The duality is great fashion staging, intriguing guests, including “Prometheus” star Noomi Rapace.
Religious imagery – sadly, a bit heavy-handed at times – was splashed on duchesse silks and organzas paired with inches of exposed flesh for this daring couture ensemble.
Fendi hairless? Not necessarily
The world’s largest luxury company, LVMHThe company that owns Fendi, has yet to match its smaller French rival Kering in its groundbreaking commitment to fur-free.
Instead, they chose to scale down the use of exotic skins and furs, rather than ban them outright.
A house steeped in fur history is the one based in Rome Fendi, longtime designer Karl Lagerfeld piled up fur on his designs and coined the phrase “fur pleasures” to describe his coat styles. Animal rights activists will protest for a long time outside Fendi’s couture shows in Paris with the AP in attendance.
Since Lagerfeld’s death in 2019, there has been some progress on that topic at Fendi, although critics say that may be because its younger clients are more sensitive to dynamic rights. object.
At Jones’ spring Fendi haute couture offering, there were no animal rights protesters, and on the runway there was only a relative blob of feathers.
The house says fur is only used on five outfits this season, including an embroidered shirt Fur coat and a shaved mink cloak.
While it’s hairless, it’s definitely a case of scaled down.
Yuima Nakazato’s Monster
Ghosts are in the air at Paris Fashion Weekas Japan’s Yuima Nakazato delves into the terrifying chapters of Greek mythology.
Chimera, the flame-breathing monster with the head of a lion, the body of a goat and a snake’s tail as the starting inspiration, was adapted into high fashion on Thursday with a smoke generator, haunting red lights and two dancers contemporary conjures up a Greek Chorus.
Illusion was pervasive.
Goblin ears are worn on the model with bright wigs in a loose tunic design held in place by rudimentary strings.
Elsewhere, vibrant multi-color prints adorn the white Chinese coat. Vibrant colors, a clear reference to dragons and fire, sometimes seem heavy, overpowering Beauty.
The spooky Charles de Vilmorin
Halloween comes early for wunderkind Charles de Vilmorin.
The French designer, who rose to fame after launching his haute couture collection in April 2020 and was quickly appointed the creative director of Rocha, drew inspiration from Death. Waltz in this season – a legend from the Middle Ages suggests that you can never escape death. Fittingly, “Beetlejuice” director Tim Burton was asked to collaborate with the designer this season on a couture show that used de Vilmorin’s signature puffy silhouettes and hand drawn artwork for deadly effect.
A blood-red satin cape wraps over the model’s devilish make-up embellished with shriveled skeletons – evoking the final scene of the 1988 classic.
Silk flared trousers, evoking medieval attire and ending at the knee, evoke images of Italian theatre. Its model, who wears ballet shoes, has an intimidating aura with red cheeks and ghostly lighting with chiaroscuro.
The styles sometimes turn to pure theatrical form, such as in a blue feather hood and fringed jacket.
Yanina’s Rainbow
Bright colors are a big couture theme this season, for better and for worse.
Russian designer Yulia Yanina crossed the rainbow – and possibly the top – by taking the vivid colors of the rainbow to create her spring collection without forgetting sophistication.
It begins with a tulle robe worn over a small multicolored skirt.
The rest of the vibrant display continues this color theme while picking up one of the other trends of the season: 1970s.
A loose, well-balanced one-shoulder gown and classic sporty voluminous sleeves.
As if this weren’t enough, a multi-tiered diamond necklace was added to the mix to make Yanina couture undoubtedly the most-traffic show to date.
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