Adieu, clunky officewear! Bonjour, accessible high chic!
NicolasGhesquière resides in the more thoughtful reaches of the fashionlandscape. That’s not to say he’s a designer of intellectual fashion (inthe old days of WWD, that meant clothes for insiders that real peoplewould hate) or that most designers work purely on instinct. Only thatGhesquière seems to ponder more than most. Or maybe he’s just more intodiscussing the nitty-gritty than most, talking past his thematicreferences to the intricate details of construction, willing to explainthe exact purpose for this seam or that dart vis-à-vis the shape of thegarment.
The fact that his knockout spring collection, thoughcomplicated in terms of cut and fabric development, looked moreobviously accessible — simple, to use his own (inaccurate) word — thanhis fall lineup, with its cumbersome sweater shapes, could be mereseasonal fashion trope. More likely, it was the result of adetermination to train the house codes — both his own and the founder’s —onto clothes that will beckon from the retail hanger,“Try me; I’msexy!” That Ghesquière did so exquisitely while playing to the theme ofantiquity, via Cocteau’s “Testament d’Orphée” with a soupçon of thesculptor Janine Janet (she worked on the film and moonlighted as theRhoda Morgenstern of her day, doing major pieces for Balenciaga’s andothers’ windows), while incorporating specific structural conceits fromthe archives, speaks to Ghesquière’s brilliance.
“An evocationof mythological drama,” Ghesquière said during a preview. He opened witha bright white bra top over slim black pants, sans vulgarity. He thenmoved into an exploration of static motion; with their voluptuousruffled cascades, his black-and-white evening beauties combined thesensuality of skin-baring movement with the strength of substantialstructure delivered in a sturdy silk blend bonded to toile. Togas lookedlike hanky-hemmed minis but were actually shorts. Tailoring camemasculine — light-toned, strong-shouldered pantsuits — and feminine: aterrific modernist take on chichi in what looked like tweeds but wereactually multilayered embroideries. Another remarkable fabric: colorful,leafy guipure embroidered with a vinelike motif; from even a shortdistance, one might mistake it for leather. It was all intensely worked,yet with the end result of a fabulous lightness that relinquished noneof the strength of the Balenciaga woman — accessible high chic of thehighest order.
@margotrobbie steps out onto the red carpet wearing @miumiu. The actress is nominated for “Outstanding Performance by a Female Actor in a Leading Role” in “I, Tonya” at the #SagAwards. (📷: Stewart Cook) #wwdfashion
For @massimogiorgetti of @msgm, the Nineties are his favorite decade. “They had a huge impact on my personal growth. What I like of the Nineties is that they are not so precise in terms of style as other decades…there was actually a bit of everything,” he said. As seen on MSGM’s Spring 2018 show: tie-dye and a bit of grunge, two styles that are synonymous with the decade #wwdfashion #wwddecades (📷: @kukukuba)
Breaking News: @hedislimane joins @celine as its new artistic, creative and image director. One of fashion’s preeminent image-makers and trendsetters, Slimane is to join the LVMH brand on Feb. 1 and unveil his first fashion proposition for men and women next September during Paris Fashion Week. It marks a major homecoming for Slimane, who cemented his reputation – and influenced men’s tailoring for more than a decade – as the designer of Dior Homme between 2000 and 2007. He went on to reinvent and ignite the house of Yves Saint Laurent, which he rechristened Saint Laurent, between 2012 and 2016 – all the while maintaining a close relationship with the Arnault family, which controls LVMH and Dior. Read the full exclusive story on WWD.com. Link in bio. #wwdnews #wwdfashion
“Personally I believe the Eighties have been the richest and more vivacious period for international fashion,” Giorgio Armani said when asked what his favorite decade of fashion is. It was a moment of disruption and experimentation and only thinking back to the first years of that decade is always an emotion for me, for what they have meant to me and my work.” The influence is clear in @giorgioarmani spring 2018 collection, pictured here, which was full of bright colors and unexpected prints. Read more about which decades designers loved most on WWD.com #wwdfashion #wwddecades (📷: @aitorrosasphoto)
For Lady Gaga’s only Italian show on her “Joanne World Tour,” the singer wore a range of @versace_official outfits. The standout piece: this custom-made bodysuit inspired by the brand’s spring 2018 collection. #wwdfashion (RG: @ladygaga)
@_camillaruth_ is expanding on the wellness-craze concept with @westbourne – a new NYC restaurant that’s both a healthy-minded café as well as a business that gives back to the community. Marcus works with the Robin Hood foundation to give back to The Door, a non-profit providing youth development services, and also hires employees through The Door. Read our full interview with Marcus on giving back through food on WWD.com. #wwdeye (📷: @lexieblacklock)