[ad_1]
Paris, France – Sunday evening in Paris, Hedi Slimane finally unveiled his complete vision of the Celine man. The press notes read: "Celine 02: A London Newspaper: The Polaroids of British Youth." Nothing more.
The bad news is that there is nothing new at Céline. The good news is that there is nothing new at Celine. This is both the blessing and curse of Slimane, depending on which side of the fence you are on with the most controversial designer.
Whatever house he leads, Slimane clings to his weapons, generating a flood of personal tropes. His lens is so sharp and so stubborn that you almost feel like he's creating costumes for a play or movie, instead of creating clothes, so to speak. He rather prefers an attitude, reproduces it from sources and dresses it. Once again, Céline's show ended the men's fashion season in Paris. But it is perhaps very well Slimane's Dior Homme, or the more formal moment of his mandate to Saint Laurent.
Yet, despite all the already seen, all plaid coats with square shoulders, biker jackets and high-waisted pants that you could also find in a second-hand or occasional goods store, and despite the soundtrack of independent music, the cast of skinny androgynous models is running a furious speed, and despite the ambiguity of these hands immersed in the pockets, looking more like Stephanie of Monaco than rebel of the Left Bank with a stone in the fists; Certainly, despite all the tricks used by Slimane for most of his career, everything felt cool – and suddenly, again desirable, in the image of the old adage of fashion: all that is old is new again.
The silhouette, both clean and spacious – at least according to Slimane standards – with cropped trousers at mid-calf, created an unexpected game of proportions; the theater was a big black box with a breathtaking view of the Place de la Concorde and the Champs-Elysees through a glbad wall. So, fresh as we take on Mods, of course. The images that Slimane was looking for in this collection were exactly what they were. According to rumors, the designer has moved his studio in London, which could explain the move to the iconic British subculture.
Slimane's love for youth is everlasting and, imagining Celine's man, he painted a picture of an easy-going, decidedly bourgeois, with some rebellious inclinations and a family palace as reinforcement. It's an old story, but it still works, and it's been a great experience adaptation and coveted coats.
It was salable, it was inventive, it was not the case. True creation is not a fashion priority at the moment.
Source link
