Over the years some pretty memorable fashion shows moments have been staged at the Bercy, for example Alexander McQueen’s hologram of Kate Moss, as well as his final show. Haider Ackermann contributed to that fashion history with a beautifully rendered and poetic collection. For several seasons now, the fashion community has embraced and supported this extraordinary talent. This season, again, they were not disappointed. “Bravo” was heard several times, and coming from the toughest of critics, the photographers.
Moving away from his monastic origins, Ackermann embraced color to its fullest. Each girl made her slow journey toward us from a mirrored wall that not only amplified the kaleidoscopic effect of the exotic colors and shiny surfaces, but also multiplied the vast and attentive audience.
The first looks combined a more masculine and tailored yet voluminous form than the Brancusi-like silhouette of seasons past. Silk shantung (used more literally and traditionally than at Balenciaga) men’s trousers contrasted wrapped shirts, light wrapped robes and brocade jackets with a slightly Middle Eastern flavor. The shoes were a bit more questionable: flat brogues were similarly masculine in form, with the back seemingly sawn off and covered in an array of contrasting silks. Sometimes a leather jacket or chiffon hooded robe was expertly layered in this sandwich of color and texture that inspired memories of Romeo Gigli from the early 90s.
Although his clothes usually require a personal stylist, or a particular woman with a flair for personal origami, a lot of the individual pieces had a strong Claude Montana-like structure, particularly the strong-shouldered jackets, which will ultimately have better hanger appeal. But it was also some of the simplest renditions that worked best: an exquisite claret-red blouse worn solely with trousers, a sheer chiffon hooded dress in vivid purple and another dress that was completely sheer and nude on top with a solid bottom.
Haider is a great colorist, adding more intensity to his jewel tones with rare combinations of blues, but no less vivid was the silver liquid lamé floor-length pleated skirt dress, the last in Haider’s textural journey, with expertly placed broad straps over bare breasts.