While it is fashionable among fashion editors to bash Slimane . I thought this look was terrific, even as it grew repetitive. My god, I thought, as the checked jackets and jeans tucked into thigh-high shearling boots strode by, then an ecru fisherman’s sweater laced with sequins, then a slick butter-colored leather jacket, then this and then that — these clothes are going to sell. And it’s no wonder other designers are paying attention, and also breaking the rules. Rushemy Botter and Lisi Herrebrugh, in their debut for the house of Nina Ricci, showed clothes that seemed more connected to the contemporary spirit of Balenciaga. Olivier Rousteing’s collection for Balmain might have been an ode to Chanel for all its tweeds and extensive offerings.
, hoodie, sweater, longsleeve and ladies t-shirtAnd Bruno Sialelli’s first collection for Lanvin was the perfect example of how young designers blend references in a way that might seem, to their elders, as disrespectful or unorthodox, but to them is second nature . As the oldest French fashion house to remain in business since its founding, Lanvin holds a special status among its peers. That is the allure of history. The company was started in the late 19th century by Jeanne Lanvin, initially a designer of children’s wear. Clothes for moms came not much later, but even its logo, which resembles a sailboat at sea, is in fact a stylized drawing of a mother embracing her child. This logo figured prominently in the debut collection of its latest designer, young Bruno Sialelli, formerly of Loewe, who is the third and thus far most convincing one to attempt to save this house since the abrupt departure of Alber Elbaz in 2015. Sialelli included a black skirt printed with the logo in his show, held in the Musée de Cluny, which is focused on the Middle Ages, perhaps explaining the simultaneous appearance of a knight on horseback slaying a dragon. The knight was rendered in sequins on a black velvet halter gown.
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