Outside the Palais de Tokyo, a passerby inquired as to “who these hordes of elvish characters were waiting to see?” There was no Gandalf in sight: these were simply guests waiting for the’s wonderous deconstructed garments . It’s the kind of hardcore devotion that most designers can only inspire after years in the game – but this is only the sisters’ third time showing in Paris .
They cast their gaze back to Madeleine Vionnet’s draping of shiny textiles in the 1930s to then consider “how can we approach this sheen and gleam in a contemporary way?” If Vionnet’s ephemeral cuts were glazed with a certain glitzy glamour, the sisters anchored their singular approach in the original etymology of the word: “it comes from really old Scottish – when you’ve been glamoured, you’ve been bewitched. Someone has cast a spell on you.And bewitching their collection was.
The S/S24 accessories offerings will also no doubt continue to fan the brand’s cult following into a frenzy. Models tapped down the runway in a slip-on brogue-esque sneaker-soled shoe and a new version of the Lella in a brown python print. This brogue detailing, a nod to the 30s references seen throughout the garments, was also featured on their now iconic Trivia bag, this season made from a sporty, perforated suede.
But more than anything, it is perhaps symbolic of the Fanning sisters unparalleled talent for translating their immense scholarly knowledge of design and art history into singular design methods and techniques. And although they are quick to pay homage to the female creatives who came before them, the sheer ingenuity of this collection proves that they are sure to become themselves an important inspiration for generations to come.
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