When asked about his inspiration, Alber Elbaz insists that by the time he's subjected it to
his design process, there is almost nothing recognizable left of the story with
which he starts each new collection. Before the show, he mentioned he had in
mind an angel in hell, but as he drew and drew, the angel returned to earth.
Still, if you let your mind go, you could imagine that the snakes coiled in
appliqué across a dress or in a print down a pant leg or the whole ambiance of the show were echoes of Down
There. The shoulders that gave the collection its epic silhouette could be the
traces of wings.
Lanvin has always been about The Dress, but this time, Elbaz
tackled tops and bottoms. One of the challenges he set himself was quite
typical: How can a tracksuit work for evening? That's why he mixed the show up,
daywear and dressier stuff intermingled. It created an urgent, unfinished,
spontaneous mood, which was amplified by dresses that had ribbons or pleats
pinned to them.
Strength of the show were those shoulders, which he was quick to point out had nothing to do
with eighties padded power dressing. "Power you can buy in a bank,"
he said. "I prefer strength." Against which he paraded sheer tulle
dresses that conveyed a nothing-to-hide vulnerability, as well as plenty of
embellishments with sequins, beading, oversized crosses and gold chokers.
Oppositions are fundamental to Elbaz, the most elementary being the reality of
clothes versus the dream of fashion. He's always managed to bridge the gap by
making things that women desire. Here, the desire was more palpable than ever.
And helping that happen was Elbaz's conviction that "modernity is
beauty.
Pls.Pls.Check the Runway show it will put you big time in the mood of the collection...
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