We weren't necessarily seeing anything new in terms of the clothes themselves - puffas, bombers, macs, hoodies - but we didn't necessarily need to. Because fashion is all about context. And that's something that Vetements is very good at understanding. [CONTINUE READING...]
From the old Milanese lady in her mink fur and pencil skirt to the blushing bride, wrapped in tulle and a long, flowing veil. In between appeared 37 common archetypes, stereotypical personalities, everyday contemporary portraits. Beyond this, Demna Gvasalia’s intention, and that of the label Vetements, was already clear from the invitation: an anymous white bag, with a fake ID cart inside that granted entry to the foyer of the Centre Georges Pompidou, with its library windows, artisan cafes and escalators. In this typical metropolitan space, move the visions of the Georgian creative. There was the pimp in an oversize leather jacket, the soldier in his camouflage combat gear, the fashion editor on a scooter, the oversize trench and the Asian lady in Chanel-style tailoring, the macho police officer in all black, and the office worker in the coat that’s too big, the punk in bright green denim, the femme fatale wearing electric blue and crystals. Not forgetting the rapper with the statement sweater, the skater from the banlieu with their carefully studied sportswear look – that included some Reebok – the hooligan with their team scarf, the uptight secretary, the nerd n a huge checked shirt or the snowboarder in a quilted jacket and sweater. A common theme was oversize shapes, long belts and a print that screamed VETEMENT all over the place: from jeans to sweaters, from the edging on the country style skirts to the swinging belts.
By Giampietro Baudo - MFF Magazine for Fashion