#af vandevorst
Flying Through
- Elsie Mackay applying make-up in the cockpit of her plane, 1920, Getty Images.
- AF Vandevorst, Spring/Summer 2015.
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Paris Fashion Week - Days 3 & 4
Day 3
What was exciting in Roland Mouret’s nice wearable collection was the little details, the juxtaposition of prints and especially the necklines, taking geometrical shapes and giving a new fresh direction to the little dresses. In the wonderland of Manish Arora, then, ‘Winter is coming’, as it was written in different ways on many of the looks and as it understandable from the little hints spread here and there, like the prints depicting a deer or other 'winter’ scenes - despite of the flowers adorning some other looks. There was gold, there were big sweaters with phantasmagoric patterns, there were studs decorating the hems and the accessories.
Architecture was the focus of Paco Rabanne (photo 1) collection, not only because of the buildings and structures depicted on some hoodies and sweaters, but also because it was visible in the quality of the looks: waists were moved higher, tightened and balanced by wide bottom parts and very long and oversize sleeves; when the material used wasn’t as thick as neoprene and wool, lines transversally crossing the body gave the idea of structure, with chiffon acting as a window sexily showing the body. Classic glam was instead Balmain’s main style choice (photo 2). If you’re looking for something in particular, you could probably find it in this collection. It was classic but in a badass way, which made me think of the power collections of the 90s rocked by top models on the runway. There were fringes and lurex, gold and bright colours. What I liked the most were the contrasts: colour blocking, as well as contrasts of materials - pleated chiffon and glossy silk - with some fun twists - coloured lace as an example.
Dark, frightening, regal at the same time was the collection presented by A. F. Vandevorst (photo 3). There was a sort of algid quality to the black, grey and sometimes white dresses, with ruffled fringes, layers of fabric, exaggerated proportions. Loved the trousers inspired by boots with strings and the wrinkled fabric.
Rick Owens proposed a pattern and explored it in countless ways: neutral colours, with some hint of gold, cape, tight waist broadening at the bottom, straight lines. A master of construction and of experimentation, beautiful the fabrics gently wrapping the body. Christian Wijnants sent down the runway beautiful African-inspired prints for long wrapping dresses, leaving place then to woolen coats in egg shapes and ensembles with ethereal transparent fabrics.
Africa was also presente in Lanvin (photo 4), precisely Morocco, Alber Elbaz’s motherland. It was definitely the inspiration this time, even if he didn’t give up on the elegance which distinguishes Lanvin as a brand: beautiful long black gowns were revisited with the use of fringes - it seems fringes are the new black, they’re everywhere! - thin ropes hanging from the body, stripes, a little chiffon, brilliant colours paired with gold. Everything contributed to give movement. Gosia Baczynska (photo 5) developed her collection around a common aesthetic theme: brocade. The pattern was repurposed in several versions, with normal brocade, or quilted, or even through cut-outs, embroidered, alternated to total black silk looks. Amazing the last pieces with an iridescent fabric beautifully reflecting the light. Electric.
Day 4
Another strong, bold collection for Loewe (photo 6) was designed by J.W. Anderson. Trousers were the real protagonists of this collection, in tweed, a masculine fabric which can become the king of the female wardrobe - as Chanel taught us well. But there were also long dresses and pleated skirts, sweet and cool at the same time. My favourite pieces were the coats, reinvented to look less stiff, slightly oversize to give a little draping movement to the ensemble.
In Chalayan’s show men and women were walking together down the runway, both wardrobe looking as one: maxi-zippers over windbreakers, a lot of black, skinny fit trousers. In the most feminine looks different types of fabric were put together with the use of little chains or in a 'patchworky’ style. Texture was instead the main theme of Issey Miyake collection (photo 7), where three-dimensionality was explored in different ways. Fabrics with difference of texture underlined by different colours, graphic patterns all over the body giving the impression of depth, stripes with maxi-pleats. Everything was new, everything was flawless.
Multicoloured threads decorating the body with sinuous lines were the focus of Julien David’s collection, threads forming graphic and optical patterns with a strong impression of movement. The collection at Christian Dior this time, instead, was more aggressive than feminine, and this is not usually the case with the maison - even if the brand definitely has an edgy side too. Latex for boots was enhanced by dark total looks, cocktail dresses with lines reminding of classic Dior but in a toned-down femininity, or bright maxi-prints - leopard in acid tones - metallic textiles and showing of skin - but never too much.
When everyone is saying flares are coming back in fashion again, Isabel Marant seems to reply NO. All her trousers were leggings-like super skinny pieces flattering the body and showing the curves, paired with knitted turtlenecks with a sporty vibe or feminine ruffled chiffon tops, evoking the last ethereal pieces. There was no doubt, instead, that eternal beauty was the theme under Undercover collection (photo 8). From the plastic masks over the models’ faces mimicking plastic surgery to the paintings of children over some of the dresses, everything seemed to go to that direction. The clothes, never too bright, seemed to conceal the body more than showing anything: oversize shapes, layering of fabrics draped and tied around the body, just few instances of thin waists and slim fit.
I expected more from John Galliano at Martin Margiela. Everything was a little bit too confused, but I loved the camel-toned coats manipulated in various ways. Nothing like that Balenciaga (photo 9), after which I could breathe easy as Alexander Wang proved again to be one of the most interesting designers around - remember I didn’t like his collection for his eponymous brand? This time, it was classic reloaded: egg-shaped coats, pencil skirts, cute fitted jackets, very classic old-fashioned pieces with extremely modern details. The different items looked stapled more than sewn together, the dresses and jackets are completely studded, giving them an edgy look, at the same time elevated by sophisticated details like the brooches with the initials of the great master, Cristóbal Balenciaga.
The idea of Japan is a fixed obsession for Yohji Yamamoto (photo 10). You could see it in the yards of fabric wrapping the body in shapes which only remotely reminded kimonos, yet they were an obvious reference, using colours like black and blood red. Tailored looks immaculately constructed showed Yamamoto can also go very Western-like, with a touch of masculine style.
Off-White awesomely reinvented 70s vibe, with leather and sheepskin jackets paired to classic cut beige trousers freshened by the insertion of a little print. Beautiful the last printed ensemble paired with Timberland-like boots.
xxx
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A.F. Vandevorst spring—summer 1999.
For A.F. Vandevorst a garment that has been worn, has more ‘spirit’, more ‘soul’. An opinion they assimilated in their Spring-Summer 1999 collection by proposing clothes that look as if they have been slept in. The show took place in an old dormitory, and the clothes were presented by models sleeping in iron hospital beds. Lauded by the international press and fashion world, the duo received the Venus de la Mode award for most promising designer.
Hirofumi Kurino: Having seen a fashion show too many, I sometimes feel exhausted. It all seems a big waste to me then. I presume others must have the same feeling but still, they always seem ready for another show. I am fed up with this craze, this talk about fashion, the irresponsibility of journalists just chasing news. This ‘fashion for fashion’s sake’ is quite meaningless.
But there are moments of magic. Many people will agree with me when I mention the three A.F. Vandevorst shows, in 1998 and 1999. Knowing these were their first presentations, we were more than amazed; I felt healed, saved, rescued.
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