Alaa, Shayparelli and Chloe: The Age of Power Curve

Wow, this is one way to check someone, I thought, when the first look at Alaa’s offer appeared.

The designer Peter Molieh had dropped the waist belt from its skirts below the abdominal button, then added a kind of blowing cake inside, so the result is similar to an intersection between a future pan and the skirt of Hola, which goes going and forth with each step. It was the magician and the amazing. She spoke, a sign of what would come.

This turns into a strength curve season: giant, round shoulders; Huge ruffles, exaggerated; The hips that exceed its natural width; Even the collars that are generously strengthened up and out. Any distortion of a silhouette, in other words, creates a kind of sandy clock in your face and is an answer to the excessive “male energy”, as it was called by Mark Zuckerberg, who appeared in the world outside the corridors. The alternative movement began, because this is what began to see it, in Milan, Brada, with Miuccia Prada and Raf Simons embracing the non -contestants, which is just capturing Steam

If the eighties of the last century give us the shoulder shoulder, made to break the glass ceiling (or at least try), this redefines this idea to a new era; Sleep the edges, embrace female curved clichies and re -formulated them as a challenge. Instead of masculinity in the female body, it secretes it and makes it uninterrupted; It turns it into a tool to occupy space.

“It was detonated, turned on, and is transferred to the extreme,” Chemena Kamali summarized in Chloé in a preview. In her chiffon and lace, through decoration, decoration and hero from lace at times, the result could not have read as a fragility and turned it into bundles. This is a type of alchemy that is difficult to resist (and more persuasive, in any case, one of the floating lattin dresses that you also prefer).

Just as the large round shoulders in the leather motorcycle jackets and Jersey Moto dresses in a very good width outside the eggs gave this brand a structure that was lacking in. Since the enlarged sample of girls – ice bags and huge satirical satin loads, the shirts – in Fakira seemed less similar to the trick and more like throwing.

“For some women, at least, this seems to be strength,” said Daniel Rosbury, coach of Chiaparelli. He was talking behind the scenes before the show, which took a twisted luster of high -end fashion that was celebrated and presided over her ready -to -wear without losing her imagination. After the seasons in which Mr. Rosbury tried to hide this light under the daily Bushesh, it was a welcome reset.

Because, continued, “It is not really sex.” It is not a matter of inviting males. (With this group, he said he was trying to imagine a world that was present without a male look.) Instead, it comes to what he called “control, choice and agency” on one’s body. They are bound barri leather suits that come out of a bust and hips under the shearling very wide that look like wings, or a half -luxurious satellite jacket.

It is a step forward from the corsets that appeared as one of the most unfortunate trends of high -end fashion shows earlier this year (especially in Schiaparelli). The energy curve achieves the same optical effect without pain or the forced body reinforced by the corses through ligament and ligaments. Instead, it uses the percentage and some strategic filling to address what you see.

In the event that anyone is absent from this point, Mr. Rosbury collected a picture of a lace bust of lace, such as the ghost of the femininity of the past, to the introduction of a black suit-with ski jumping shoulders and hips while giving an additional appeal via hidden blowing from the neoprene. Imagine the structure without hardness.

For this reason, classic classic working girls in the Stella McCartney poem on the aspirations of the eighties worked in the old style, instead of exciting, even written in sewing and shirt and revised them in the open companies’ environment with the completion of office computers and ground phones (if anyone wondering we were). Yes, we went back to the office, but do we really have to return there? Although the male electrode dancer that closed the show was the Apropos touch.

However, no one dealt with the idea of ​​complete curves just as sculpting, and strangely, as Mr. Molia in Alaa, who was not limited to hip but explored “the terrain of the full female shape through curves and filling, through the layers that behave like a shield for the shield,” as he wrote in the notes of its presentation.

This meant the prostitution that chanted these hip cakes on the shoulders, which was built from a layer on a layer of cohesive ruffles (in reference to the ruffles that Alaa’s icon uses often), so they seemed like truck monster tires, a fashion version, or residue of the production of “everything if this end is good”. Maybe Slinky or three? Some of them are made of ropes from the skin.

This also means that the Polaru jackets are elegantly curved from the throat to the waist, and more of these cakes added to the covers and framing the face. Often leave the waist exposed, creating a corset through a negative space. There was hardly a straight line in the show.

Some were ridiculous, especially peaks made of nylon socks that surrounded the weapons, which are the opposite of empowerment. Many of them were technically wonderful. Also, many challenges are to wear (who really wants to add more materials to the hips?). It was difficult to decide whether it was Mr. Molia who was owned by science fiction, dancer, science fiction or dancer. Maybe it does not matter.

Either way, he was original. In both cases, it was suggested that the term “Body-Con” may indicate that there is nothing “hey, a big boy”, but rather to the body’s awareness inside. Either way, the large female energy was in the room.