There’s been a sense all season that fashion has been thirsting for a true tour de force: something which is not reducible to a sound bite or a trend, but which reaches beyond that, to touch emotion and make us question the limited way we’ve come to think about the possibilities of design. Or maybe even about ourselves, as women. Well, it was Alber Elbaz who fulfilled all those longings with his fall Lanvin show it was a tour de force of variety, encompassing in its accomplishment, a collection that makes warring terms like “minimal” and “maximal” seem plain silly. Elbaz can give equal weight to the perfectly simple and the bristlingly embellished. He can smother looks in hard-core chain jewelry and bug brooches one minute, and leave it all off the next. It was hard to know what to pay attention to most the way asymmetrical darts would be sexily, lovingly placed on the torsos of little black dresses in crepe or delicious velvet? Or the almost miraculous way he can bias-cut a full, bouncy skirt, so that it appears contemporary.
There’s
been a sense all season that fashion has been thirsting for a true tour
de force: something which is not reducible to a sound bite or a trend,
but which reaches beyond that, to touch emotion and make us question the
limited way we’ve come to think about the possibilities of design. Or
maybe even about ourselves, as women. Well, it was Alber Elbaz who fulfilled all those longings with his fall Lanvin
show—it was a tour de force of variety, encompassing in its
accomplishment, a collection that makes warring terms like “minimal” and
“maximal” seem plain silly. Elbaz can give equal weight to the
perfectly simple and the bristlingly embellished. He can smother looks
in hard-core chain jewelry and bug brooches one minute, and leave it all
off the next. It was hard to know what to pay attention to most—the way
asymmetrical darts would be sexily, lovingly placed on the torsos of
little black dresses in crepe or delicious velvet? Or the almost
miraculous way he can bias-cut a full, bouncy skirt, so that it appears
contemporary.
His own words afterward weren’t about clothes, but emotional values. “Happiness, health, love, cool,” he said, as he was multiply kissed and hugged by a horde of well-wishers.
What’s so interesting is that, although refreshingly modern, the structure of the collection played out almost like an old-style fashion show that would run through daywear tailoring, silk day dresses, prints, cocktail dresses, embroidered special things, gowns, and wedding dresses. Elbaz covered most of that territory as if it were second nature, though the sequencing was a lot more unpredictable than it would have been, say, in an epic Yves Saint Laurent show back in the eighties.
Elbaz understands, more than many another, that women are complex and can feel like one thing at one moment (like a plain sleeveless dress), or a dress or blouse bristling with conceptual multicolored plastic flowers up and down the arms, the next. The ultimate magic of this collection is that it’s so wonderfully hard to pin down and describe.
- See more at: http://www.vogue.com/fashion-week/fall-2013-rtw/lanvin/review/#sthash.Quuh84ju.dpuf
His own words afterward weren’t about clothes, but emotional values. “Happiness, health, love, cool,” he said, as he was multiply kissed and hugged by a horde of well-wishers.
What’s so interesting is that, although refreshingly modern, the structure of the collection played out almost like an old-style fashion show that would run through daywear tailoring, silk day dresses, prints, cocktail dresses, embroidered special things, gowns, and wedding dresses. Elbaz covered most of that territory as if it were second nature, though the sequencing was a lot more unpredictable than it would have been, say, in an epic Yves Saint Laurent show back in the eighties.
Elbaz understands, more than many another, that women are complex and can feel like one thing at one moment (like a plain sleeveless dress), or a dress or blouse bristling with conceptual multicolored plastic flowers up and down the arms, the next. The ultimate magic of this collection is that it’s so wonderfully hard to pin down and describe.
- See more at: http://www.vogue.com/fashion-week/fall-2013-rtw/lanvin/review/#sthash.Quuh84ju.dpuf
There’s
been a sense all season that fashion has been thirsting for a true tour
de force: something which is not reducible to a sound bite or a trend,
but which reaches beyond that, to touch emotion and make us question the
limited way we’ve come to think about the possibilities of design. Or
maybe even about ourselves, as women. Well, it was Alber Elbaz who fulfilled all those longings with his fall Lanvin
show—it was a tour de force of variety, encompassing in its
accomplishment, a collection that makes warring terms like “minimal” and
“maximal” seem plain silly. Elbaz can give equal weight to the
perfectly simple and the bristlingly embellished. He can smother looks
in hard-core chain jewelry and bug brooches one minute, and leave it all
off the next. It was hard to know what to pay attention to most—the way
asymmetrical darts would be sexily, lovingly placed on the torsos of
little black dresses in crepe or delicious velvet? Or the almost
miraculous way he can bias-cut a full, bouncy skirt, so that it appears
contemporary.
His own words afterward weren’t about clothes, but emotional values. “Happiness, health, love, cool,” he said, as he was multiply kissed and hugged by a horde of well-wishers.
What’s so interesting is that, although refreshingly modern, the structure of the collection played out almost like an old-style fashion show that would run through daywear tailoring, silk day dresses, prints, cocktail dresses, embroidered special things, gowns, and wedding dresses. Elbaz covered most of that territory as if it were second nature, though the sequencing was a lot more unpredictable than it would have been, say, in an epic Yves Saint Laurent show back in the eighties.
Elbaz understands, more than many another, that women are complex and can feel like one thing at one moment (like a plain sleeveless dress), or a dress or blouse bristling with conceptual multicolored plastic flowers up and down the arms, the next. The ultimate magic of this collection is that it’s so wonderfully hard to pin down and describe.
- See more at: http://www.vogue.com/fashion-week/fall-2013-rtw/lanvin/review/#sthash.Quuh84ju.dpuf
His own words afterward weren’t about clothes, but emotional values. “Happiness, health, love, cool,” he said, as he was multiply kissed and hugged by a horde of well-wishers.
What’s so interesting is that, although refreshingly modern, the structure of the collection played out almost like an old-style fashion show that would run through daywear tailoring, silk day dresses, prints, cocktail dresses, embroidered special things, gowns, and wedding dresses. Elbaz covered most of that territory as if it were second nature, though the sequencing was a lot more unpredictable than it would have been, say, in an epic Yves Saint Laurent show back in the eighties.
Elbaz understands, more than many another, that women are complex and can feel like one thing at one moment (like a plain sleeveless dress), or a dress or blouse bristling with conceptual multicolored plastic flowers up and down the arms, the next. The ultimate magic of this collection is that it’s so wonderfully hard to pin down and describe.
- See more at: http://www.vogue.com/fashion-week/fall-2013-rtw/lanvin/review/#sthash.Quuh84ju.dpuf
There’s
been a sense all season that fashion has been thirsting for a true tour
de force: something which is not reducible to a sound bite or a trend,
but which reaches beyond that, to touch emotion and make us question the
limited way we’ve come to think about the possibilities of design. Or
maybe even about ourselves, as women. Well, it was Alber Elbaz who fulfilled all those longings with his fall Lanvin
show—it was a tour de force of variety, encompassing in its
accomplishment, a collection that makes warring terms like “minimal” and
“maximal” seem plain silly. Elbaz can give equal weight to the
perfectly simple and the bristlingly embellished. He can smother looks
in hard-core chain jewelry and bug brooches one minute, and leave it all
off the next. It was hard to know what to pay attention to most—the way
asymmetrical darts would be sexily, lovingly placed on the torsos of
little black dresses in crepe or delicious velvet? Or the almost
miraculous way he can bias-cut a full, bouncy skirt, so that it appears
contemporary.
His own words afterward weren’t about clothes, but emotional values. “Happiness, health, love, cool,” he said, as he was multiply kissed and hugged by a horde of well-wishers.
What’s so interesting is that, although refreshingly modern, the structure of the collection played out almost like an old-style fashion show that would run through daywear tailoring, silk day dresses, prints, cocktail dresses, embroidered special things, gowns, and wedding dresses. Elbaz covered most of that territory as if it were second nature, though the sequencing was a lot more unpredictable than it would have been, say, in an epic Yves Saint Laurent show back in the eighties.
Elbaz understands, more than many another, that women are complex and can feel like one thing at one moment (like a plain sleeveless dress), or a dress or blouse bristling with conceptual multicolored plastic flowers up and down the arms, the next. The ultimate magic of this collection is that it’s so wonderfully hard to pin down and describe.
- See more at: http://www.vogue.com/fashion-week/fall-2013-rtw/lanvin/review/#sthash.Quuh84ju.dpuf
His own words afterward weren’t about clothes, but emotional values. “Happiness, health, love, cool,” he said, as he was multiply kissed and hugged by a horde of well-wishers.
What’s so interesting is that, although refreshingly modern, the structure of the collection played out almost like an old-style fashion show that would run through daywear tailoring, silk day dresses, prints, cocktail dresses, embroidered special things, gowns, and wedding dresses. Elbaz covered most of that territory as if it were second nature, though the sequencing was a lot more unpredictable than it would have been, say, in an epic Yves Saint Laurent show back in the eighties.
Elbaz understands, more than many another, that women are complex and can feel like one thing at one moment (like a plain sleeveless dress), or a dress or blouse bristling with conceptual multicolored plastic flowers up and down the arms, the next. The ultimate magic of this collection is that it’s so wonderfully hard to pin down and describe.
- See more at: http://www.vogue.com/fashion-week/fall-2013-rtw/lanvin/review/#sthash.Quuh84ju.dpuf
His own words afterward weren’t about clothes, but emotional values. “Happiness, health, love, cool,” he said, as he was multiply kissed and hugged by a horde of well-wishers. What's so interesting is that, although refreshingly modern, the structure of the collection played out almost like an old-style fashion show that would run through daywear tailoring, silk day dresses, prints, cocktail dresses, embroidered special things, gowns, and wedding dresses.
Elbaz covered most of that territory as if were second nature, though the sequencing was a lot more unpredictable than it would have been, say in an epic Yves Saint Laurent show back in the eighties. Elbaz understands, more than many another, that women are complex and can feel like one thing at one moment (like a plain sleeveless dress), or a dress or blouse bristling with conceptual multicolored plastic flowers up and down the armes, the next. The ultimate magic of this collection is that it's so wonderfully hard to pin down and describe.
Selections by ANDREA JANKE Finest Accessories
Photo Credit/Source: VOGUE
Photography by Marcus Tondo / InDigitalTeam / GoRunway
More To Love ...
There’s
been a sense all season that fashion has been thirsting for a true tour
de force: something which is not reducible to a sound bite or a trend,
but which reaches beyond that, to touch emotion and make us question the
limited way we’ve come to think about the possibilities of design. Or
maybe even about ourselves, as women. Well, it was Alber Elbaz who fulfilled all those longings with his fall Lanvin
show—it was a tour de force of variety, encompassing in its
accomplishment, a collection that makes warring terms like “minimal” and
“maximal” seem plain silly. Elbaz can give equal weight to the
perfectly simple and the bristlingly embellished. He can smother looks
in hard-core chain jewelry and bug brooches one minute, and leave it all
off the next. It was hard to know what to pay attention to most—the way
asymmetrical darts would be sexily, lovingly placed on the torsos of
little black dresses in crepe or delicious velvet? Or the almost
miraculous way he can bias-cut a full, bouncy skirt, so that it appears
contemporary.
His own words afterward weren’t about clothes, but emotional values. “Happiness, health, love, cool,” he said, as he was multiply kissed and hugged by a horde of well-wishers.
What’s so interesting is that, although refreshingly modern, the structure of the collection played out almost like an old-style fashion show that would run through daywear tailoring, silk day dresses, prints, cocktail dresses, embroidered special things, gowns, and wedding dresses. Elbaz covered most of that territory as if it were second nature, though the sequencing was a lot more unpredictable than it would have been, say, in an epic Yves Saint Laurent show back in the eighties.
Elbaz understands, more than many another, that women are complex and can feel like one thing at one moment (like a plain sleeveless dress), or a dress or blouse bristling with conceptual multicolored plastic flowers up and down the arms, the next. The ultimate magic of this collection is that it’s so wonderfully hard to pin down and describe.
- See more at: http://www.vogue.com/fashion-week/fall-2013-rtw/lanvin/review/#sthash.Quuh84ju.dpuf
His own words afterward weren’t about clothes, but emotional values. “Happiness, health, love, cool,” he said, as he was multiply kissed and hugged by a horde of well-wishers.
What’s so interesting is that, although refreshingly modern, the structure of the collection played out almost like an old-style fashion show that would run through daywear tailoring, silk day dresses, prints, cocktail dresses, embroidered special things, gowns, and wedding dresses. Elbaz covered most of that territory as if it were second nature, though the sequencing was a lot more unpredictable than it would have been, say, in an epic Yves Saint Laurent show back in the eighties.
Elbaz understands, more than many another, that women are complex and can feel like one thing at one moment (like a plain sleeveless dress), or a dress or blouse bristling with conceptual multicolored plastic flowers up and down the arms, the next. The ultimate magic of this collection is that it’s so wonderfully hard to pin down and describe.
- See more at: http://www.vogue.com/fashion-week/fall-2013-rtw/lanvin/review/#sthash.Quuh84ju.dpuf
There’s
been a sense all season that fashion has been thirsting for a true tour
de force: something which is not reducible to a sound bite or a trend,
but which reaches beyond that, to touch emotion and make us question the
limited way we’ve come to think about the possibilities of design. Or
maybe even about ourselves, as women. Well, it was Alber Elbaz who fulfilled all those longings with his fall Lanvin
show—it was a tour de force of variety, encompassing in its
accomplishment, a collection that makes warring terms like “minimal” and
“maximal” seem plain silly. Elbaz can give equal weight to the
perfectly simple and the bristlingly embellished. He can smother looks
in hard-core chain jewelry and bug brooches one minute, and leave it all
off the next. It was hard to know what to pay attention to most—the way
asymmetrical darts would be sexily, lovingly placed on the torsos of
little black dresses in crepe or delicious velvet? Or the almost
miraculous way he can bias-cut a full, bouncy skirt, so that it appears
contemporary.
His own words afterward weren’t about clothes, but emotional values. “Happiness, health, love, cool,” he said, as he was multiply kissed and hugged by a horde of well-wishers.
What’s so interesting is that, although refreshingly modern, the structure of the collection played out almost like an old-style fashion show that would run through daywear tailoring, silk day dresses, prints, cocktail dresses, embroidered special things, gowns, and wedding dresses. Elbaz covered most of that territory as if it were second nature, though the sequencing was a lot more unpredictable than it would have been, say, in an epic Yves Saint Laurent show back in the eighties.
Elbaz understands, more than many another, that women are complex and can feel like one thing at one moment (like a plain sleeveless dress), or a dress or blouse bristling with conceptual multicolored plastic flowers up and down the arms, the next. The ultimate magic of this collection is that it’s so wonderfully hard to pin down and describe.
- See more at: http://www.vogue.com/fashion-week/fall-2013-rtw/lanvin/review/#sthash.PXnSgx0n.dpuf
His own words afterward weren’t about clothes, but emotional values. “Happiness, health, love, cool,” he said, as he was multiply kissed and hugged by a horde of well-wishers.
What’s so interesting is that, although refreshingly modern, the structure of the collection played out almost like an old-style fashion show that would run through daywear tailoring, silk day dresses, prints, cocktail dresses, embroidered special things, gowns, and wedding dresses. Elbaz covered most of that territory as if it were second nature, though the sequencing was a lot more unpredictable than it would have been, say, in an epic Yves Saint Laurent show back in the eighties.
Elbaz understands, more than many another, that women are complex and can feel like one thing at one moment (like a plain sleeveless dress), or a dress or blouse bristling with conceptual multicolored plastic flowers up and down the arms, the next. The ultimate magic of this collection is that it’s so wonderfully hard to pin down and describe.
- See more at: http://www.vogue.com/fashion-week/fall-2013-rtw/lanvin/review/#sthash.PXnSgx0n.dpuf
There’s
been a sense all season that fashion has been thirsting for a true tour
de force: something which is not reducible to a sound bite or a trend,
but which reaches beyond that, to touch emotion and make us question the
limited way we’ve come to think about the possibilities of design. Or
maybe even about ourselves, as women. Well, it was Alber Elbaz who fulfilled all those longings with his fall Lanvin
show—it was a tour de force of variety, encompassing in its
accomplishment, a collection that makes warring terms like “minimal” and
“maximal” seem plain silly. Elbaz can give equal weight to the
perfectly simple and the bristlingly embellished. He can smother looks
in hard-core chain jewelry and bug brooches one minute, and leave it all
off the next. It was hard to know what to pay attention to most—the way
asymmetrical darts would be sexily, lovingly placed on the torsos of
little black dresses in crepe or delicious velvet? Or the almost
miraculous way he can bias-cut a full, bouncy skirt, so that it appears
contemporary.
His own words afterward weren’t about clothes, but emotional values. “Happiness, health, love, cool,” he said, as he was multiply kissed and hugged by a horde of well-wishers.
What’s so interesting is that, although refreshingly modern, the structure of the collection played out almost like an old-style fashion show that would run through daywear tailoring, silk day dresses, prints, cocktail dresses, embroidered special things, gowns, and wedding dresses. Elbaz covered most of that territory as if it were second nature, though the sequencing was a lot more unpredictable than it would have been, say, in an epic Yves Saint Laurent show back in the eighties.
Elbaz understands, more than many another, that women are complex and can feel like one thing at one moment (like a plain sleeveless dress), or a dress or blouse bristling with conceptual multicolored plastic flowers up and down the arms, the next. The ultimate magic of this collection is that it’s so wonderfully hard to pin down and describe.
- See more at: http://www.vogue.com/fashion-week/fall-2013-rtw/lanvin/review/#sthash.PXnSgx0n.dpuf
His own words afterward weren’t about clothes, but emotional values. “Happiness, health, love, cool,” he said, as he was multiply kissed and hugged by a horde of well-wishers.
What’s so interesting is that, although refreshingly modern, the structure of the collection played out almost like an old-style fashion show that would run through daywear tailoring, silk day dresses, prints, cocktail dresses, embroidered special things, gowns, and wedding dresses. Elbaz covered most of that territory as if it were second nature, though the sequencing was a lot more unpredictable than it would have been, say, in an epic Yves Saint Laurent show back in the eighties.
Elbaz understands, more than many another, that women are complex and can feel like one thing at one moment (like a plain sleeveless dress), or a dress or blouse bristling with conceptual multicolored plastic flowers up and down the arms, the next. The ultimate magic of this collection is that it’s so wonderfully hard to pin down and describe.
- See more at: http://www.vogue.com/fashion-week/fall-2013-rtw/lanvin/review/#sthash.PXnSgx0n.dpuf
There’s
been a sense all season that fashion has been thirsting for a true tour
de force: something which is not reducible to a sound bite or a trend,
but which reaches beyond that, to touch emotion and make us question the
limited way we’ve come to think about the possibilities of design. Or
maybe even about ourselves, as women. Well, it was Alber Elbaz who fulfilled all those longings with his fall Lanvin
show—it was a tour de force of variety, encompassing in its
accomplishment, a collection that makes warring terms like “minimal” and
“maximal” seem plain silly. Elbaz can give equal weight to the
perfectly simple and the bristlingly embellished. He can smother looks
in hard-core chain jewelry and bug brooches one minute, and leave it all
off the next. It was hard to know what to pay attention to most—the way
asymmetrical darts would be sexily, lovingly placed on the torsos of
little black dresses in crepe or delicious velvet? Or the almost
miraculous way he can bias-cut a full, bouncy skirt, so that it appears
contemporary.
His own words afterward weren’t about clothes, but emotional values. “Happiness, health, love, cool,” he said, as he was multiply kissed and hugged by a horde of well-wishers.
What’s so interesting is that, although refreshingly modern, the structure of the collection played out almost like an old-style fashion show that would run through daywear tailoring, silk day dresses, prints, cocktail dresses, embroidered special things, gowns, and wedding dresses. Elbaz covered most of that territory as if it were second nature, though the sequencing was a lot more unpredictable than it would have been, say, in an epic Yves Saint Laurent show back in the eighties.
Elbaz understands, more than many another, that women are complex and can feel like one thing at one moment (like a plain sleeveless dress), or a dress or blouse bristling with conceptual multicolored plastic flowers up and down the arms, the next. The ultimate magic of this collection is that it’s so wonderfully hard to pin down and describe.
- See more at: http://www.vogue.com/fashion-week/fall-2013-rtw/lanvin/review/#sthash.PXnSgx0n.dpuf
His own words afterward weren’t about clothes, but emotional values. “Happiness, health, love, cool,” he said, as he was multiply kissed and hugged by a horde of well-wishers.
What’s so interesting is that, although refreshingly modern, the structure of the collection played out almost like an old-style fashion show that would run through daywear tailoring, silk day dresses, prints, cocktail dresses, embroidered special things, gowns, and wedding dresses. Elbaz covered most of that territory as if it were second nature, though the sequencing was a lot more unpredictable than it would have been, say, in an epic Yves Saint Laurent show back in the eighties.
Elbaz understands, more than many another, that women are complex and can feel like one thing at one moment (like a plain sleeveless dress), or a dress or blouse bristling with conceptual multicolored plastic flowers up and down the arms, the next. The ultimate magic of this collection is that it’s so wonderfully hard to pin down and describe.
- See more at: http://www.vogue.com/fashion-week/fall-2013-rtw/lanvin/review/#sthash.PXnSgx0n.dpuf
There’s
been a sense all season that fashion has been thirsting for a true tour
de force: something which is not reducible to a sound bite or a trend,
but which reaches beyond that, to touch emotion and make us question the
limited way we’ve come to think about the possibilities of design. Or
maybe even about ourselves, as women. Well, it was Alber Elbaz who fulfilled all those longings with his fall Lanvin
show—it was a tour de force of variety, encompassing in its
accomplishment, a collection that makes warring terms like “minimal” and
“maximal” seem plain silly. Elbaz can give equal weight to the
perfectly simple and the bristlingly embellished. He can smother looks
in hard-core chain jewelry and bug brooches one minute, and leave it all
off the next. It was hard to know what to pay attention to most—the way
asymmetrical darts would be sexily, lovingly placed on the torsos of
little black dresses in crepe or delicious velvet? Or the almost
miraculous way he can bias-cut a full, bouncy skirt, so that it appears
contemporary.
His own words afterward weren’t about clothes, but emotional values. “Happiness, health, love, cool,” he said, as he was multiply kissed and hugged by a horde of well-wishers.
What’s so interesting is that, although refreshingly modern, the structure of the collection played out almost like an old-style fashion show that would run through daywear tailoring, silk day dresses, prints, cocktail dresses, embroidered special things, gowns, and wedding dresses. Elbaz covered most of that territory as if it were second nature, though the sequencing was a lot more unpredictable than it would have been, say, in an epic Yves Saint Laurent show back in the eighties.
Elbaz understands, more than many another, that women are complex and can feel like one thing at one moment (like a plain sleeveless dress), or a dress or blouse bristling with conceptual multicolored plastic flowers up and down the arms, the next. The ultimate magic of this collection is that it’s so wonderfully hard to pin down and describe.
- See more at: http://www.vogue.com/fashion-week/fall-2013-rtw/lanvin/review/#sthash.PXnSgx0n.dpuf
His own words afterward weren’t about clothes, but emotional values. “Happiness, health, love, cool,” he said, as he was multiply kissed and hugged by a horde of well-wishers.
What’s so interesting is that, although refreshingly modern, the structure of the collection played out almost like an old-style fashion show that would run through daywear tailoring, silk day dresses, prints, cocktail dresses, embroidered special things, gowns, and wedding dresses. Elbaz covered most of that territory as if it were second nature, though the sequencing was a lot more unpredictable than it would have been, say, in an epic Yves Saint Laurent show back in the eighties.
Elbaz understands, more than many another, that women are complex and can feel like one thing at one moment (like a plain sleeveless dress), or a dress or blouse bristling with conceptual multicolored plastic flowers up and down the arms, the next. The ultimate magic of this collection is that it’s so wonderfully hard to pin down and describe.
- See more at: http://www.vogue.com/fashion-week/fall-2013-rtw/lanvin/review/#sthash.PXnSgx0n.dpuf
There’s
been a sense all season that fashion has been thirsting for a true tour
de force: something which is not reducible to a sound bite or a trend,
but which reaches beyond that, to touch emotion and make us question the
limited way we’ve come to think about the possibilities of design. Or
maybe even about ourselves, as women. Well, it was Alber Elbaz who fulfilled all those longings with his fall Lanvin
show—it was a tour de force of variety, encompassing in its
accomplishment, a collection that makes warring terms like “minimal” and
“maximal” seem plain silly. Elbaz can give equal weight to the
perfectly simple and the bristlingly embellished. He can smother looks
in hard-core chain jewelry and bug brooches one minute, and leave it all
off the next. It was hard to know what to pay attention to most—the way
asymmetrical darts would be sexily, lovingly placed on the torsos of
little black dresses in crepe or delicious velvet? Or the almost
miraculous way he can bias-cut a full, bouncy skirt, so that it appears
contemporary.
His own words afterward weren’t about clothes, but emotional values. “Happiness, health, love, cool,” he said, as he was multiply kissed and hugged by a horde of well-wishers.
What’s so interesting is that, although refreshingly modern, the structure of the collection played out almost like an old-style fashion show that would run through daywear tailoring, silk day dresses, prints, cocktail dresses, embroidered special things, gowns, and wedding dresses. Elbaz covered most of that territory as if it were second nature, though the sequencing was a lot more unpredictable than it would have been, say, in an epic Yves Saint Laurent show back in the eighties.
Elbaz understands, more than many another, that women are complex and can feel like one thing at one moment (like a plain sleeveless dress), or a dress or blouse bristling with conceptual multicolored plastic flowers up and down the arms, the next. The ultimate magic of this collection is that it’s so wonderfully hard to pin down and describe.
- See more at: http://www.vogue.com/fashion-week/fall-2013-rtw/lanvin/review/#sthash.PXnSgx0n.dpuf
His own words afterward weren’t about clothes, but emotional values. “Happiness, health, love, cool,” he said, as he was multiply kissed and hugged by a horde of well-wishers.
What’s so interesting is that, although refreshingly modern, the structure of the collection played out almost like an old-style fashion show that would run through daywear tailoring, silk day dresses, prints, cocktail dresses, embroidered special things, gowns, and wedding dresses. Elbaz covered most of that territory as if it were second nature, though the sequencing was a lot more unpredictable than it would have been, say, in an epic Yves Saint Laurent show back in the eighties.
Elbaz understands, more than many another, that women are complex and can feel like one thing at one moment (like a plain sleeveless dress), or a dress or blouse bristling with conceptual multicolored plastic flowers up and down the arms, the next. The ultimate magic of this collection is that it’s so wonderfully hard to pin down and describe.
- See more at: http://www.vogue.com/fashion-week/fall-2013-rtw/lanvin/review/#sthash.PXnSgx0n.dpuf
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