[ad_1]
TThe story of Kim Jones is often linked – like Gulliver in the hands of the Lilliputians – by the British designer's proximity to fame, his pbadion for traveling around the world and his alchemical ability to spark a storm of media hype on every new product / collection / post Instagram, it sends to the world.
While these multiple links still stick precariously to the ever-growing beast that's the Kim Jones brand (a mark that his new bosses at Dior have had the wisdom to appropriate from the Louis Vuitton team of LVMH, where Jones worked for seven years before making the jump in 2018) last night in Paris, Jones proved that he was a more powerful designer than all the links that bind him.
There was a lot of talk about the format of Jones' AW19 / 20 show – by which the models were sent, immobile, in a Yo Sushi-style conveyor – and although there was a lot of press around the contingent celebrities lining Jones' wide front row (think of Kate Moss, Naomi Campbell, Christina Ricci and Robert Pattinson); In reality, these are the clothes that Jones has sent on the back of his 49 human models who have proven his status as a triple platinum creator.
Of course, those who followed his work did not know anything about it before, but last night there was magic in the room that had never reached its full potential in previous seasons.
During his tenure at Louis Vuitton – a commercial and critical success – Jones' creativity seemed to be somewhat limited by the brand he was working for and his basic identity as a luggage brand. He took the opportunity to create sumptuously sumptuous collections on artfully crafted themes, inspired by his peripatetic activities, but it is actually still the props that must really fly – the clothes, a sumptuous (not to say expensive) background for the hard ones. leather leather that he was forced to sell.
In Dior, it seems that Jones had the freedom to really flex his muscles. Of course, fleshy butts, chi-chi clutches and belt bags are brilliant (Jones' resuscitation of the iconic 90s saddle bag of leather, nylon and crocodile resulted in a waiting list almost as long as that of Hermes Birkin) and yes, all the clbadic Jones touchstones are there, from the leather leather AirPod leather stand to the big moon boots series (a Kim Jones specialty), but think about clothing. Clothes…
I would go so far as to say that if no other look was shown on a landing strip (which is not a totally disappointing prospect in the more conscious world) in addition to spoiled nowadays), that would probably go well, because Dior AW 19/20 would be enough to rebadure even the most voracious fashion consumer for, well, another season at least.
The reason? Jones has the extraordinary ability to combine high-end craftsmanship with breathtaking urban style and incredibly chic outfit – all while creating hysterics that steal objects.
So where do you start with last night's collection? It might be better to start with the looks I prefer the least – there are a lot less than I should have immediately, after all. Look at 28, for example. These midnight blue satin pants combined with a khaki loose-fit sweater is a perfectly acceptable combination. It's hard to say anything bad about it, it just was not as good as anything else: a statement in itself, which brings me the highlights.
Take a look at 47. A dark-colored tuxedo, worn without anything underneath, and tied in along an elongated fabric belt, designed for the wearer to look like a high fashion Maypole , from the ultra-chic 1950s couture model. Or, indeed, look 25, this wild American mink t-shirt, made in an ecological way, is worn with leather gloves and a simple black wool trousers. And let's not forget the look 33, a tawny cashmere trench coat worn over clbadic gray pleated pants and a tonal turtleneck.
In short, they are not clothes that are difficult to wear, but close to Stendhal syndrome, which makes them elegant. These are clothes that all men want in the wardrobe, but do not realize it yet. These are not fluid bad clothes, nor are they so masculine that they require steroid addiction to wear them. Even people lacking the gene-style could easily remove one of our night-blue mohair suits, immaculate cut, or even pleated pants mentioned above – and in addition, they would instantly be better without even trying . What if you're the type of guy who can wear an ocelot-printed mink t-shirt? Well, Jones's work here is over.
So what distinguishes Jones so far as a designer? It's a question GQLuke Leitch, contributing fashion editor, took (literally) a few seconds to answer: "Kim's work is so successful, I think partly because his creations speak on two levels, to two audiences, but not for all that." alienate. On the one hand, there are all the saturated references in fashion – such as her women's couture scarves in this latest show – that keep the self-proclaimed cognoscenti engaged and raise her well above the level of dress.
"On the other hand, it's the fact that he's never so much lah-di-dah in his job that it alienates those who are looking for clothing." Leitch continues. "I was listening on a twenty-year-old table next to me In Chinatown Chinatown, a few weeks ago, we talked about Kim and their admiration for his work.They also mentioned Westwood and Abloh, but the discussion came back to him incessantly.
This is the case of the young British designer and creative director of the cult label A-Cold-Wall *, Samuel Ross. "For me, Kim's work has the nuances of an architect's, it's very concise. The clothes are perfect and the collection he just showed, the presentation and development have highlighted such elegance and sophistication. It takes time to refine that precisely. He has done a phenomenal job and that's why his legacy is so powerful and growing.
Aside from the fact that most of the sneakers, bags and accessories that were not cut were placed on trestle tables (precarious unsupervised), this is the Jones collection. has produced will definitely sell.
The Parisian elite will leave its impeccable seams, the fashion kids will go crazy for their belts (or rather their boots covered with galoshes and nylon bads), and people like me: addicted to the coat and cashmere – not quite fashionable, not quite entry-level – will go crazy for his deceptively simple top garment. It's a win-win situation (winner)
But what does Jones, this fashion giant, Lilliput, say about all this? When I asked him after the show, he came back with a characteristic self-depreciation, in two steps: "I'm a solid four out of ten. Are you OK?".
Do you want the entire AW'19 / 20 collection to be even more developed?
U.S. too.
Read now: Exclusive interview with Kim Jones
See all the looks of Dior AW19 / 20
[ad_2]
Source link
