His cruise show reached a crescendo as models ascended a mount and strode amid towering concrete pillars, their outfits sprouting feathers, and accruing sparkling embellishments and fluttering sleeves in glazed jersey. He name-checked French photographer Charles Fréger, who documents the uniforms worn by various communities, from athletes and majorettes to women in Brittany, yet it was hard to draw direct lines between his photos and these intensely detailed clothes.īut then again, cruise collections, which hang in stores for longer than any other, are complex, “chameleon” collections that straddle several seasons and must make a strong fashion statement while at the same time mixing with other deliveries, according to the designer. Ghesquière’s collections are rarely rooted in a single time period or based on easy, familiar references, which makes them hard to categorize and challenging to the eye. The collection was bold in its mixes of textures and prints, which could be overwhelming, especially when patterned pants were tucked into those flag-like boots. Other looks reflected the sheen of the Space Age fashion era, like the glossy red coat that opened the show or the tidy coatdresses and mini capes with neat rows of buttons. Both are dreamy propositions, and allowed Ghesquière to indulge in striking prints of lunar landscapes on roomy coats and dresses - appointing these imaginary planets with basketball courts, parking lots, escalators and other humanizing touches - and graphic, military-like ensembles for high-fashion space cadets.
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