Drawing in his silhouettes for fall, Albert Kriemler churned out a sensual lineup with an arty veneer but also made room for softness, thanks to a healthy helping of velvet, cashmere and shearling.
The designer was in high spirits ahead of the show. It’s not just that he was excited to present the clothing — and the remarkable luxury fabrics he conjured up for his audience this season — he was also pleased about landing the show venue: the Musée d’Art Moderne de Paris. It was no small feat, and an initial deal for a space on the upper floor was scuppered by another exhibit.
“I said, ‘Listen, there is so much connection to what’s hanging in your collection and my inspiration that we should reevaluate,’” he recalled.
Art-obsessed Kriemler had trained his focus on Robert Mallet-Stevens and other artists of his French Union of Modern Artists. Borrowing Cubist and graphic elements from the architect, Kriemler applied them to an all-black jumpsuit and jacket ensemble made of intricate St. Gallen embroidery — trim on top, loose and airy on the bottom. Thicker options carried blocks of autumnal tones, applied on a wool bouclé tweed and offered in layers, with tunics, skirts, capes and wrap coats — with a matching cap, worn jauntily, slightly shading one eye. Silhouettes also carried influence from Mallet-Stevens, and Kreimler built volumes — rooms, he called them — out of a black, sheer techno grid material that holds form, starting out with sleeves, then using it for a blouse and — crescendo-like — for the skirt of a ballgown with a silk crêpe bustier.
The Ai bag, its trapezoidal shape a brand centerpiece, turned up in fleece, too, and looked especially handsome in quilted leather.
As models marched past wall-sized paintings by Sonia Delaunay, with a view on the Eiffel Tower, shiny from a recent shower, one might wonder if the clothing could stand up to the venue. It did.