Rest assured should there have been any remaining doubts: sportswear is very much over and done with — something Casey Cadwallader proved by showing a line of powerfully sexy clothes at Mugler.
Drawing for the brand’s archives and its love for figure-hugging garments enhanced by bold proportions, he showed an army of belted leather overcoats, knotted shirts and lamé pants, that contrasted with graphic bras worn as outerwear, figure-hugging boydsuits with sheer cutouts, and flesh colored shapewear worn inimitably by Bella Hadid.
See-through bustiers dresses were elevated by large, geometrically-placed crystals and off-centered minidresses complete with shirt collars and playful details referencing harnesses. The message conveyed, it seems, is one of empowerment, where sex appeal is anything but objectifying.
Tangerine orange, periwinkle blue and ginger brown paved the way to an masterfully contrasted show - starting with the palette, both bold and harmonious, featuring exquisite tones subtly fusing in a manner that Alessandro Dell’Acqua can now rightfully call his signature, at Rochas.
Ornaments came in gradually, first as embroidered speckles on the sleeves of a fluid baby pink slip dress, then as a fully ornamented shirt jacket layered over a cinammon-toned blouse; as the embellishments grew, so did the complexity of the garments. A heavy cerulean fur coat was worn belted; flounces and bows enveloped necklines ; a leopard print overcoat turned heads - only to be upstaged by experimental fringing and feathering, made to look raw yet elevated. The silhouettes, quoting both effortless 1920s and its famed flapper girls as well as 1950s glamour, all with a contemporary edge, gave an air of luxury without being over-the-top, a thin line to walk which was achieved perilously but successfully.
Held in a classic French university, Lemaire’s choice of space reflected the mood: abuzz with history and promises.
As always, Christophe Lemaire and Sarah-Linh Tran provided clothes that were wearable, intellectual and respectful all at once. A nod to the current dystopian mood opened the show with wide hooded capes. Dresses were worn like jackets, turtle-neck blouses came with wide pockets — thinking of the woman destined to wear it, drop waist pea coats gave an urban twist to an otherwise timeless white monochrome ensemble; destructured, elongated and broadened suits were worn fluidly and layered; a short black denim blouson and its matching pants mixed street-cred with its trademark minimalism.
Wild life patterns made an appearance — and so did wide handbags reminiscent of a Dadaist readymade. The casting mixed genders, ages and references, creating a wardrobe free of constraints and destined to be re-appropriated by all.