Arturo Obegero said his collection reflected his experience as a young designer making his debut on the official Paris schedule. Stepping onto the bigger stage at these politically and socially turbulent times left him feeling pressured: “Everything feels like a constant performance these days, and everyone hungers for the accolades and recognition,” he said in a showroom appointment.
The Spanish designer, who prefers to source preexisting materials, took theater curtains as his fabric of the season — they too are always on stage and receive applause — which are made of thick velvet that is unforgivable in its rigidity, yet sensual. Silhouettes were dramatic takes on cuts he favors, with high-waisted trousers rising up further to become a bustier bodysuit, a scarf-cum-glove growing to wrap around the neck and face like a cowl, or a billowing crop top solidifying into a rigid balloon over the shoulders and neck. The tied cuffs of a shirt turned into giant restraints. Signs of use, such as discolorations from stage lights, were turned into embellishments.
Even so, a more challenging material did not hinder Obergero’s proclivity for creating clothes made to move, as showcase in the season’s film — a clever visual treatise about stages within stages. As far as premieres go, this was a good one.