It is hard to believe that the 29-year-old French designer Marine Serre, whose work was featured in Beyoncé’s “Black Is King” visual album and who made Paris Fashion Week possibly the most human, immersive, fully realized Digital was paired with “activation”. In the entire fashion month, established his brand only three years ago.
Not only does she have a widely recognizable logo that has nothing to do with her initials (it’s a moon print), not only is she climbing up long before she became a trend (and face masks Understood the need long ago because they were a medical necessity), but has its own ideology: ecosystems.
Seems like a movement, doesn’t it? But what does this mean?
In theory, it means the idea of regeneration and rebirth of nature; A place of machine worship of futurists with a vow to the earth. In fashion, this is a great collection.
Or, to be specific: a book, a documentary and clothes that looked attractive to wear.
Visiting the apocalypse of the past of the natural disaster that we might have – clothes for the wasteland; The pod of humanity will be abandoned after the storm – Ms. Serey makes filmed vignettes of her family and friends (while cooking, gardening, playing on tire swings), while wearing her leather greatcoats and trousers And knitwear, lacy shirts not worn were made from old household linen, and lilac suits from the revived Moray.
A virtual wormhole was created in each scene, so with one click you’ll suddenly find yourself in the backstory of the garment: the atelier and the scrap factories where the goods are found, while deconstructing the team and rebuilding the raw materials. He got a new life.
If a chimira was real, it would be like this. And it provides hope not only for our festive haul of planets and accessories, but also fashion.
Maybe because they have less to lose, or perhaps because they have less loyalty to the fashion system, one of the most provocative works of this season being created by the new generation of designers. This is the kind of work that takes you out of the haze of zombies spent in front of various zombies and makes you think – not about the problems now, but what lies ahead about it.
Ms. Serey may be at the forefront, but she is not alone.
Thebe Magugu of South Africa, who takes fashion storytelling to a new level in guerrilla films, who uses clothes to teach cultural truth – this time about the new embrace of traditional faith therapy among his urbanized millennial peers in. Working with director Kristin-Lee Mullman, he outlined the story of gang warfare and spiritual union told in both action and cloth. The safari suit was constructed from textiles used to mimic straw (complete with the said bone) to throw away a friend’s bones. A black jacket was “scattered” along the spine with Braille threads reading, “What you do for your ancestors, your children will do for you.”
Then there are the Vaquera Gang, Claire Sullivan, Patrick DiCaprio, and Brian Tubens, who are tasked with blowing raspberries to establish aspiration, orgasm, and the oblique tilt of the penis. This season meant blowing them up and deconstructing them so that satin would go unheard, flamenco flow, and baggy swathes demand a rithink.
And the Ecohaus Latta, where Mike Ikhaus and Zoe Latta are working bi-coastally (he’s in Los Angeles, they cut holes in sequin shirts and skirts, sliced denim, sliced (or not) nylon off the edge Uprooted from and otherwise used the shape) to cope gently with how undone we came.
It is not that earlier disruptions are disappearing into the edge of comfortable maturity.
One of the last members of Antisp Six (a group of Belgian designers who shook fashion in the 1980s and 1990s), Driss Van Naughten, still on the official Paris schedule, pent-up energy, sigh of desperation Moody swapped romance to quit. And desire. Twenty-six dancers and models, once or twice, rinse, turn and break once on a dark stage in a visceral mash-up of masculine stitching and feminine clichés: sugar-sweet valentine-pink sequins and slithery duchess silks in bodour Pastor paired with a no-nonsense dark overcoat; Crushed taffeta was scanned and applied to wool; Marabou fired the lines.
It was a powerhouse of a collection, as did Rick Owens, the dark prince of Paris, whose roots are at the foundation of the California dream, and who titled his show “Gethsemane”, after the garden in Jerusalem – Jesus prayed ” The Last Raking ”(as the show notes read). Because last year, they went, “almost biblical in their play.”
And so Mr. Owens’ collection, in front of his house in Venice, was filmed on a pier on the Lido.
The fog rolled into the water as models advanced to the Puffer Robbers, which are insect silhouettes attached with skinny metallic leggings or silky thongs with cashmere body suits. Exaggerated sleeves (such as dupattas for arms) slipped from the shoulders and flopped from the underside of the fingers; The fragrant, sliced gown suggested decaying notions of royalty and pilgrimage.
It was associated with the aggression of Mr. Owens’s January men’s wear show (some bomber jackets and coats were removed directly from the runway without being downed for a women’s run), equally lavish and dangerous. Promised to do something else.
“I know we’re all about hope and moving forward, but the threat has not disappeared,” said Mr. Owens while talking to Venice on FaceTime before the show.
“On the other hand,” he said happily, “good has so far conquered evil.” Thus the fashion cycle of life changes.