Another pillar of Jennings’s spring wardrobe is a luxuriously tailored suit in a breezy neutral…
Phoebe Neuman
Your front row view, no ticket required.
Oh! There were bunny ears, too!
Celebrity couples, they’re just like us!
Break out those spring shoes ASAP.
Debuting her semi-eponymous line’s largest collection to date, designer Alyssa Lesser continued to challenge the denim industry with her experimentation with dyeing, embroidery and embossing techniques. For fall, she mixed her innovative materials and prints into silhouettes that still felt approachable.
This season’s hues were derived from artist Matthias Weischer’s “very strange, very saturated and off Seventies colors,” Lesser explained. The embossing designs and prints were largely based on the ideas of Portuguese tiles that were fragmented and disjointed, graphically repeating motifs over and over again. These influences manifested into modernist paisley prints, distressed metallic-leather appliqués and acid-washed-out dyes, in gray, blue and green. Standout pieces included an inside-out seamed pant, with a frayed stripe and slit down the side, and an updated denim jacket silhouette with detachable faux-fur sleeves and collar.
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Virgil Abloh considered his fall collection to be a very important one for him, a turning point in his four-year-old label. “My brand feels like it’s starting from zero, which is great,” he said before the show. Reading between the lines, it felt like he’s eager to graduate from his streetwear designer/collaborator of Kanye West image.
Abloh is earnest, ambitious and still learning — all of which was reflected in the show. It was elaborately staged, set with smoky light, dried leaves and birch trees suspended from the ceiling, their barren branches swinging a little too close to some attendees’ eyes. The spooky forest added atmosphere, though it was unclear what it had to do with the collection. Abloh has many ideas yet, at times, struggles to connect the dots.
To that end, the clothes were a manifestation of his intense meditation on the phrase “Nothing New.” Backstage, Abloh unloaded a stream of consciousness-style analysis of the notion that fashion is driven by newness. “As creative critics, we all use ‘Is it new? Is it not?’ to define something, but usually it’s just a phrase,” he said. “An invention is what I think is something new.” Instead of striving to invent the fifth element
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For its first runway show, Faith Connexion drove home its brand DNA with a unisex collection featuring blown-out proportions, vivid patterns, embellishments and distressed effects.
Models were in for a workout as they worked their way through a mansion in the 16th arrondissement. After strutting the ground floor ballroom — the women in punishing platform stiletto boots made in collaboration with New Rock — the cast twirled through the many chambers of the labyrinthine basement before working their way upstairs for a family portrait on the swirling marble staircase.
The circuit was long, but after waiting 10 years to stage its first show, why not let Faith Connexion enjoy the moment? The punk-infused streetwear brand counts Rihanna, Beyoncé and the Kardashian sisters among its devotees, but has heretofore limited its fashion week presence to quiet presentations away from the runway hubbub.
The collection was less focused on hand-painting and graffiti this season, leaning toward patchwork and the juxtaposition of bold prints. The brand’s signature mix of decadence and DIY shone through in a studded aviator, or a black-and-gold brocade suit with feather fringe. A collaboration with Kappa supplied shimmering track pants and tie-dyed sweatshirts with the soccer brand’s iconic logo.
It was all a bit too much. But Faith Connexion faithfuls wouldn’t have it any another way.
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A cadre of leading retailers and editors turned out for Antonin Tron’s debut runway show for his Atlein label, which was held at the Galerie Thaddaeus Ropac in the Marais district of Paris. It was a sign of the powerful momentum the label has gained in the year since its launch.
Having won the First Collection Prize at the prestigious ANDAM awards last year, Atlein is among the 21 semifinalists for this year’s edition of the LVMH Prize for Young Fashion Designers (in fact, Tron headed straight from his show to the LVMH headquarters on Avenue Montaigne, where the semifinalists were due to present their work to a committee of experts later in the day.)
A veteran of Louis Vuitton, Givenchy and Balenciaga — where he still freelances under creative director Demna Gvasalia — Tron struck out on his own with a line of cool jersey outfits. They still formed the basis of his fall collection, but were augmented this season by sturdier elements such as tailored items, knits and shoes.
Jackets and coats came with chunky zips or gently curved sleeves, inspired by the molded construction of wetsuits. A keen surfer, Tron favors a body-conscious silhouette, using ruching and asymmetric panels to sculpt his
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