Redemption, Vionnet, Maison Margiela and Dries Van Noten's fashion show
On the second day of Paris Fashion Week, Gabriele Moratti, Goga Ashkenazi, John Galliano and Dries Van Noten offered us a marvellous invitation to travel, to somewhere between bohemian rock and Japan.
More rock n’ roll and more bohemian than ever, the heroines on Redemption’s catwalk, including Daria Strokous, Lily Donaldson, Isabeli Fontana and Angela Lindvall, looked like they’d just walked in from Coachella. In slim leather trousers, suede ponchos and sparking mini-dresses, the gang of muses invited by the brand’s creative director Gabriele Moratti for his first show, played the rebels on a planet where led Zeppelin, Neil Young and Mick Jagger reign supreme. Redemption also stands out from the rest with its generosity in donating 50% of its profits to charity.
Under the direction of Goga Ashkenazi, the Vionnet goddesses are mysterious and diaphanous. Anna Cleveland opened the show in a Grecian vestal dress. Continuing in the same antique vein, Goga Ashkenazi, who’s clearly brought the house back to life, dressed her silhouettes in swathes of tulle and chiffon in a brilliantly poetic setting.
For his third show at Maison Margiela and with all the talent we know and love him for, John Galliano reinterpreted the Geisha silhouette, eight years after that legendary spring-summer 2007 haute couture collection at Dior – which he’d dedicated entirely to the Land of the Rising Sun. These new Madame Butterflies fluttered between Versailles and Portobello Road, revealing their chiffon dresses beneath trapeze jackets with 7/8 sleeves. Gloved up to the elbows and playing with fire, mixing shine and matt, monochrome and colour, day and night… Once again John Galliano orchestrates a unique fusion of theatre, history and fashion.
Japan features again at Dries Van Noten who had his models perched on Geisha-style sandals. For this spring-summer 2016 collection, which was all about travel, the Belgian designer mixed up his references: Asia first, the inspiration behind the tubular forms and bursts of bright colours. Then came India with the supple stitching effects and sari-style knotting. And finally a millennial Mexico from whence Dries Van Noten gathered certain symbols reinterpreted as sprinkled motifs or as magnetic prints over thin sweaters and gloves.
By Louise Samson