Get the look: distorted reality version

PARIS – The thick white fog crossed the square of the Museum of Modern Art on a beautiful sunny day like a cotton batting canvas, blurri...


PARIS – The thick white fog crossed the square of the Museum of Modern Art on a beautiful sunny day like a cotton batting canvas, blurring the view, making it difficult to see what was to follow. It was Rick Owens’ show, but the darkening of reality seemed terribly familiar.

Symbolism proliferates at fashion week: Dior chess mannequins; Saint Laurent’s wet podium and the final downpour. Some choices generate more puzzles than others; some seem more relevant. Mr. Owens’ “Fogachine” was an idiot.

For everyone the talk about sex! and to party ! being the way forward, the general vibe at the water fountain or along the trail is ambivalent: are we really that happy to be back – at the office, at a show – doing the same old, the same old? Is this what we want? And if not (because: no, not quite, or at least not exactly yes), what is it?

Back to school yin and yang are struggling in real time on the catwalks. It’s a more nuanced and complicated way of reflecting what’s going on than just shortening skirts and showing off a bra top or silly 1950s housewife lingerie looks Rokh, and it produces a lot more clothes. interesting.

“I passed the lockdown in a position of fierce defiance,” said Mr Owens, whose previous pandemic shows, staged on empty beaches in Venice, were effective beauty cries in the void. “And it seemed a little silly now to go back over it and get all sensitive. But we have to be a little responsible, don’t we? So I try to be both.

Hence the duality of the collection, which turned from the grandiose and aggressive shoulders that it made its own to the kind of graceful slanting drape that evoked Greek statuary and old Hollywood; from the protruding insectoid angles of leather appendages to the ovoid curves of a ribbed silk sweatshirt; and army platform boots cut to evoke surgical pins to layers of spider web knits, provocatively speckled with holes like little gaping mouths just waiting for something to grab onto.

So two women, all in black, were perched on the roof of the museum and, like flower witches, scattered dried jasmine petals from Mr. Owens’ garden in Venice on the show in remembrance of the past year. And hence the fog, with its layers of associations – mystery, nature, ritual, disco! – belched by an assortment of small black machines from Germany.

They weren’t just a feat, however. Mr Owens is working with the manufacturer and will sell the misters in three sizes (wearable for the wrist and ankle, plus a coffee table option) as part of his collection. You can have your fog and take it with you too.

They are probably going to sell.

Raf Simons, meanwhile, blurred all lines between suits and t-shirts; treating the gray and black clothes ready for Wall Street as group products and splashing them with screen-printed logos invented for different groups – Goth, Metal, Techno – in a reversal that was as much about the increasingly cliched nature of streetwear as the confusion bigger and bigger. discussing the dress code for the office and who can say what “appropriate” clothing means.

To this end, he also erased, like many designers, the difference between men’s and women’s clothing, so that all models of any gender wore the same skirts or shirts or sweaters or giant shirts. oversized. The buttons were complete with old-fashioned cursive script labels, placed conspicuously at the base of the neck or wrist, and small, skeletal metal hand-bracelets (first introduced last season) gripping the biceps, like a phantasmagoric sign of old ideas around work and the future finally ending.

All of this made Gabriela Hearst’s Chloé show – presented on the banks of the Seine and his first with an audience since he was designer named at the end of last year – rare in its sunny clarity. Ms. Hearst is one of the few designers who still speak openly about sustainability, and Chloe is in the process of being certified as a B Corp (with verified social and environmental achievements); the designer also said she was determined to use the brand as a platform to elevate handwork.

As a result, she focuses less on silhouette or shape and more on texture (“I’m trying to make texture a brand signature,” she said during a preview), which means a lot. from blouses and kaftans, to low waisted dresses and loose linen suits. . Also a new tag, Chloé Craft, signaling the type of clothing, such as a dress covered in hand-knotted silk streamers or made up of multi-colored scallops mosaic with macrame, which look deceptively simple. but are impossible to do by machine.

They weren’t flashy, but they were valuable and quietly reminded – like Mr. Owens ‘fog and Mr. Simons’ rides – how warped our world has become.

For anyone who doesn’t see it, just consider Jonathan Anderson’s Loewe, where classicism and establishment expectations have been subverted, stretched on both sides, and otherwise punctured. Literally.

Long columns of jersey were pulled over wireframe structures, creating geometric disturbances in the line and hugging the body in a new, pointed shape. Hammered gold breastplates were encrusted over mass-dyed ribbed cotton dresses and back to front, then crushed in asymmetry, listing to one side. Heraldic chiffon draped pants in faded denim blue. The sequined slip dresses had a cancan dancer’s frill that framed not a slit but a real hole in the garment, as if the wearer’s leg had torn.

It was both exuberant and uncomfortable. “Neurotic, psychedelic, completely hysterical,” so Mr. Anderson put it in his performance notes. Well, duh. Welcome to now.

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Newsrust - US Top News: Get the look: distorted reality version
Get the look: distorted reality version
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