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.
Paris Fashion Week Day Four
28 Сентября 2014
“I am in a more tender place in my private life, that’s why it is all so soft, so pink and grey. And why I was thinking flowers – Les Fleurs du Mal,” said Haider Ackermann, referring to Baudelaire’s erotic poetry.
This was after a whisper-quiet show of clothes blending with flesh.
Instead of music starting soft and rising to a crescendo, the sound never grew much above a low hum. And in phase with that, the clothes were soft, gentle, never tortured into shape – even when short skirts morphed into shorts as the fabric wrapped one thigh.
The flowers were like blooms clutched and crushed to the chest, in whorls on a blush-pink silk jacket. That decorative effect, seen on models with identical cropped wigs, was at the heart of this show that included soft pantsuits and dresses.
Paradoxically, because the clothes were more ‘finished’ and put together than in previous seasons, there was less emotion. Haider has often said that he is always looking from afar at women against a horizon. But in this show his woman might step purposefully forward in a tailored pantsuit, the colour burgundy slithering across her body.
For buyers, these clothes – elegantly cut and gracefully stitched – will be a boon after previous shows of vague shapes and floating fabrics.
I liked it a lot, but to me the depth of Haider’s work has always been that something unknown, and left undone.
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