Ahead of his Louis Vuitton men's debut, Virgil Abloh infused his Off-White collection with the sort of extreme 90s street vibe that has catapulted him to the top of his field, this time even baggier and with a nod to that iconic slacker of the decade, Bart Simpson...
Charles Jeffrey presented his spring Loverboy collection today, a nod to London clubland and its more colorful, artful, binary-defying, queer-identifying denizens...
Having long humored his clownish tendencies, Jeremy Scott went full circus for his resort 2019 collection for Moschino, which he held in the capital of make-believe, Los Angeles...
Only Comme des Garçons could hold the room in total stillness for ten minutes, with only two high-powered photography lights inches above the runway. Everyone held their breath, arching their necks to see if the lights were moving infinitesimally, or if we were, like Vladimir and Estragon in Samuel Beckett’s groundbreaking play Waiting for Godot, simply waiting. The second people’s attention span broke and they began to talk, the music started and the lights headed up to the ceiling.
Yamamoto had some rare words to say before the show today, in the form of a small paper included with the invitation — which was, incidentally, a glittery mirrored compact pendant. It featured a discreet section of a nude female body, with the simple text: “Hommage 1. M. Cubisme 2. Mon cher Azzedine.” And the show was exactly that — something that, in the wrong hands, could have been a terrible failure, but in the masterful hands of Yamamoto, was mesmerizing.
The invitation handwritten in blue biro, or ballpoint pen, led us to the sumptuous Hotel de Ville in Paris’ fourth arrondissement. This clash of down-to-earth and neo-Renaissance set the scene for the show, which opened to the strains of Deep Purple’s art-rock classic, Child in Time: “Sweet child in time, you'll see the line, line that's drawn between good and bad.” But of course, with Dries Van Noten, there is no good and bad, only damn good.
As is his wont, Thom Browne wrapped his fall collection in an idiosyncratic, tongue-in-cheek mise en scène. This time it involved men in gray pajamas slipping into camping beds at the end of the show in a desolate, snow-blanketed landscape. Other men wearing white skirt suits and bags tucked them into bed sporting trompe l'oeil gray suits, adding to the eerie effect.
The scene was set on arrival at the venue for Kenzo’s fall 2018 show. Several film sets were scattered around the vast show space, replete with cut-in-half cars, half dining tables, sliced baths, and film-quality lighting and camera rigs. We thought before the show that this was to be the setting for the finale, where models would sit afterwards so the audience could meander around and snap photos for their Instagrams. We couldn’t have been more wrong.
There was something carefree about the boys on Comme des Garçons’ runway today. The show opened with a deconstructed tailored jacket, paired with a flowing superhero print trouser, and topped with a giant dinosaur head mask. It was like watching young boys playing dress up, still in their pajamas, but being forced to go outside by their parents.
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