A big drama in Valentino, McQueen, Dior, but Paliniga gets it

Valentino showed in the bathroom.

Or not a bathroom, exactly, but a big box in the courtyard of the Du Monde Araba Institute, which was created to look like a big public bath without sex. One is lined in the toilet stalls and banks (lasted) and the glow of Redo Redo. Models appeared from the toilet stalls completely, Valentino Valentino-Bouiser and Michel Glory: Long Lace dresses with cats on the trunk or waist and suits of the short bourgeois skirt over the bike shorts; Polka pants point with floral chips. With eclipse and handbags.

Why? Well, according to Mr. Michelle, it was about recognizing what he called “Metatheater” from the intimate relationship and limited space as we convert our self into our public clothes through dress. Although the stage of the theater that indicates that the brand, or at least its heritage, is in the toilet, it may not be the metaphor that should have had it really.

Instead, it seemed to be a strong example of the current problem with amateur fashion plays.

Once this type of fictional roles playing a larger point; One that gave a clothes story for clothes and created a wonderful emotional connection. Or so it was at the beginning of the millennium when these types of Alexander McQueen and John Galliano were transformed, this is also why Galliano Margilla Cotor from January 2024 is still a reference point).

However, increasingly, as the offers approached entertainment, it seems that designers have lost this connection, using visual and dread secrets to attract attention (and penetrate chaos in social media), rather than focusing on the reason for the presence of groups in the first place: providing brief articles on how to look after. It seems as if they believed, with enough decoration, no one will notice that they have not already reached any new ideas.

“We live while everyone wants to be a major personality. But fashion is something I have a problem with her, because it does not make me dream.”.

It is just a distraction, when the corridors exceed more than paying attention enough.

Pifetting and pterodactyls

This problem was clearly clear in the McQueen program, where the designer SEáN McGIRR, on a third picnic for the brand, seemed to be doing his best to pass through ancient McQueen movements. He built a detailed group that included a towering wardrobe like something outside the wonders, with a staircase anywhere and a tunnel opposite, as if it were a hole from another (perhaps England Dickens). Then it was also filled with a series of dams and betting in the flowing chiffon, sharp shoulder jackets, wearing high evening and wearing evening.

Shearling jackets had a pavilion similar to temporarily blinded by flap and hit the edge of the worm hole. The “Game of Thrones” in the Queen Victoria Court, with a dose of Saint Laurent, but there was rocks in essence. A lot of sound and sneaks, which indicates a lot. Or not much that seemed to be relevant today.

This was definitely the case in Valentino, where the brand of Mr. Michel was fully offered. It was also, thanks to a number of severe lace gowns and uninterrupted stamps at the top of a narrow lace, the bodies themselves, and many of them painfully thin. It is difficult to focus on the elegance of a high -necked black velvety dress, cut to the throat to the waist in the top, when you are distracted by the breast feasibility of the woman inside.

It was actually hidden under lobes some ideas that could be convincing: with a metal bust of a metal bust worn by old jeans; A completely cut -cut pants, with just a blow of feathers in the neck. But it was difficult to see it amid everything that bites the scene.

Just as, in Dior, the fact that Maria Gratia Cheyurry has lost a fashion suggestion, and has lost a good proposal, at The Surreal Dreamscape to cooperate with Robert Wilson, experimental director and theatrical writer.

The result was a show in five works, including a “once … once” audio voice, some laser, lit the asteroids in red that descended from the top, and scattered the crystalline icebergs that appeared from the Earth. There was a creeping flying.

Oh yes – there were clothes. To a large extent, “Orlando”-the backward, dual, tense shirts and shirts, most of them are black, white and beige of severe linen. But they were also intelligent, because, as Mrs. Cheyuri revealed in a preview, that large ruffles and clear handcuffs were, and the two necks and corsets at the waist, separately, allowing the victim to adapt her view of will. Just as it was like a lacy Little Nothings already knitting, and the Cambling trench coats were Jakar. These are the pieces that should be seen close to their appreciation, although in the display bomb, it looks boring.

But hey: Look at the creeping creeping!

Fact behind the scenes

This is exactly the position that made Balenciaga appear very unexpected. Demna, which was preached in October 2024 at a table of 154 feet, this time stripped all the plays far away, creating a narrow maze of the black corridors stipulated, it was better to framing what was primarily retroactively from Balenciaga -is. One has not been accumulated exactly to calm the speculation that this could be his final offer to the brand, but it was a reminder of the extent of his strategy that ruined the current situation over the past ten years and fashion fashion.

There were banking allowances (there are some kind of directions that the offices make) with the wrinkles and flexibility of the built -in mites, and the slightly adjusted suitability to be less restricted but not less customized. Blue Blue Blue Hudi dress that swept the ground like a famous wedding dress at home 1967. And Lilac Suffer lined in a corset.

There were the required street clothes, more than usual. Puma also cooperated. Hoody bears the name “luxury”; Join swimming dresses that were mainly shower allowances with trains; Evening coats – including another swollen – with high -end fashion. As a whole, it was clear, avoiding grass.

“The standards are the most difficult things to do,” Diana said behind the scenes. He was wearing one of his allowances, instead of his usual inflated shirt, and pointed to his new appearance as “DEMNA 2.0”. It was a joke, but also a sign. Acknowledging that this was a moment to reduce and focus.

He said: “It is easy to put a chair on his head and make an art that can be worn, but what I want to do now is just making great clothes for someone who understands them by wearing it. To make a jacket with two sleeves that look good for many different people – this, for me, the fashion in its most important state.”

He is right.