You are viewing the Russian Vogue website. If you prefer another country’s Vogue website, select from the list

Хотите получать уведомления о самых важных новостях из мира моды? Да, подписаться

Suzy Menkes

Vogue International Editor Suzy Menkes is the best-known fashion journalist in the world. After 25 years commenting on fashion for the International Herald Tribune (rebranded recently as The International New York Times), Suzy Menkes now writes exclusively for Vogue online, covering fashion worldwide.

Grand Houses — but is anyone in?

Dior and Lanvin’s previous designers brought creativity as well as sensation, so what of the current collections?

13 Марта 2016

Dior, fall 2016 ready-to-wear
Dior, fall 2016 ready-to-wear

It is a great day to be a great designer. Because nothing better proves the need for imagination, intelligence, invention, irreverence and sheer creativity than the rudderless shows we have watched at Dior and Lanvin in Paris this week. In both houses, the collections have not been bad — as in crass, vulgar or ill-fitting.
The opposite is true. The houses and their workers respect the quality and the name of the “Maison”. To be honest, people who shop these clothes across the world will still register the well-known names and wear the clothes with pride. Yet two designer directors have disappeared: Raf Simons at Dior walked out under pressure.

At Lanvin, Alber Elbaz was fired. Their replacements have been the so-called “teams”, people who worked hard behind the scenes when the masters were there to guide them. The result is at best a feeling that a pallid version of what came before has been worked over. There may still be a scent of the fashion house. But it will inevitably fade.

Dior: Celebs and mirrors

Dior took the same two Swiss designers, Serge Ruffieux and Lucie Meier, who worked on haute couture, to handle the Winter 2016 collection. The house built yet another grandiose set, this time interspersing giant silver baubles as entrances to a facade mirroring the Louvre building. That was the last bold gesture of the show - unless you count filling up the ranks with a possy of celebrities from Jessica Alba in a black jacket, white, collar, gold-trimmed blouse and red trousers — an outfit she described to me as “100 per cent Dior”.

Dior, fall 2016 ready-to-wear
Dior, fall 2016 ready-to-wear

 She was joined by Rosamund Pike, Bond girl Naomie Harris and Riley Keough — best known as Elvis’s granddaughter. The gossip was that Kris Jenner had been put in the second row. I totally missed her, but her daughter Kendall was on the catwalk in what was one of the bolder outfits: a different fur on each bosom. Dior shows had become known for a certain boldness, or perhaps that should be “madness” towards the explosive end of John Galliano’s tenure. Raf Simons, who followed on, started with an emphatic statement about geometric modernity. This show was young, strict in its long opening period of black, and cute when little floral prints were inspired by a Christian Dior print of ice cream (at least that’s what I read in the show notes). There was a lack of those big, fat roses that Mr Dior loved in his garden and on his dress patterns.

Dior, fall 2016 ready-to-wear
Dior, fall 2016 ready-to-wear

Instead the prettiness was in coats and knitwear with gathered sleeves. If that wasn't enough of a draw, handbags came out in tubes. What stood out in this tunnel of silvered tubes and arches was how tame, if relatively appealing, this collection seemed. It’s as hard to define inventive design in fashion as it is in any decorative art. It is never about the crass Zoolander idea of a good show. But there are moments when people who love fashion have moist eyes and a shiver of excitement. Dior never approached that magic moment today.

Lanvin: Losing the Appetite

Seeing the runway at Lanvin inspired a variety of analogies – a restaurant with only a sous chef came to mind — especially as previous designer Alber Elbaz had a habit of offering around his own funky food and cookies rather than the house’s nice-but-banal pink champagne. The most obvious change in the show itself was the lack of those witty, pretty, iconic or ironic pieces, perhaps jewellery announcing “Yes!" or “Mine" or so many other whimsical expressions of womanhood.

Lanvin, fall 2016 ready-to-wear
Lanvin, fall 2016 ready-to-wear

Then there was Alber’s insistence that every show should have different elements — long, soft, aggressive, sweet — to accept the different characters and needs of women. Whoever cut the square silver-grey suit that opened the show did give the impression that inside the stiff garment there was a woman with yearnings and needs. Everything was perfectly designed and well made, but you cannot fake the inner soul of an artist, any more than you can clone a great work of art and claim it has the same value as the original.

Lanvin, fall 2016 ready-to-wear
Lanvin, fall 2016 ready-to-wear

Fashion is “only” an applied art, so it is not required to carry bags of emotion inside a mannish check jacket worn with pleated chiffon skirt; nor is it when the palette switches from a golden wrap coat to calf-length ginger suede. The whole point about emotion in clothing is that it is intangible. Alber had the talent to make something desirable.

The team left behind showed technical prowess but no rush of blood. What will be done to help these rudderless houses continue? It has to be recognised that the case of Gucci, with backstage designer Alessandro Michele waiting in the wings for a decade, is a fluke. What high-level and important fashion houses need is a designer with the technical and emotional skills to make the magic of a great fashion moment happen.

Lanvin, fall 2016 ready-to-wear
Lanvin, fall 2016 ready-to-wear

    
Instagram @SuzyMenkesVogue
Twitter @SuzyMenkesVogue
Facebook.com/SuzyMenkes

еще в разделе Suzy Menkes

Grand Houses — but is anyone in?

Comme des Garçons: 18th — Century Punk

Rei Kawakubo raids the furnishings for what to wear, come the Revolution…

Grand Houses — but is anyone in?

Balmain: Supermodels, super curves, super relevant

Olivier Rousteing amps up the sex appeal without apology

Grand Houses — but is anyone in?

The Importance of a Personal Vision

Rochas, Vionnet and Aganovich: stories in colour, shapes and drapes and black and white

комментарии / 0

оставить комментарий

самое популярное

Модная программа на ярмарке Design Miami 2017
Новости Модная программа на ярмарке Design Miami 2017

Fendi, Prada, Hermès и Gucci кое-что для нас готовят

Новогодняя коллекция Avgvst Jewelry
Украшения Новогодняя коллекция Avgvst Jewelry

Method — горный хрусталь в багетной огранке

Полуобнаженная Аня Рубик в Colette
Афиша Полуобнаженная Аня Рубик в Colette

Японский художник Нобуёси Араки запечатлел и забрызгал краской музу Saint Laurent


подписка на журнал

Для Вас все самое интересное
и свежее в мире моды

VOGUE на планшете

Свежий номер журнала
по специальной цене

VOGUE на iphone

Скачайте
по специальной цене!

VOGUE коллекции

Для iPhone
и iPad

Vogue Россия
в Facebook

Vogue Россия
в Vkontakte

Vogue Россия
в Twitter

Видео-канал
VOGUE Россия

vogue россия
в instagram

Instagram

Самые яркие
фото VOGUE.ru