Valentino, Mcquin, big drama in dyer but Balensiaga gets it

The Valentino show took place in a bathroom.

Or not, a bathroom, absolutely, but a large box in the courtyard of institute du Monde Arabia was designed to look like a large penis -free public bathroom. A toilet stalls and sinks (no urinals) and brightly valentino red glowing. The model emerges perfectly from toilet stalls, cookie Valentino-by-alesandro-Michel Glory: Tall bourgeois skirt suits on torous or numerous faces on the waist with cats of cats at Toruso or waist; Polka dot pants with floral neckathi; Balaclavas and handbags Galore.

Why? Well, according to Mr. Mitchell, it was to peep with the “metathiator” of intimacy and liminal space, where we change our personal self through our dress in our own dress. However a platform set that suggests a brand, or at least its heritage, is in the toilet, perhaps not the metaphor that he should actually go.

Instead it seemed like a powerful example of current problem with fashion amateur theaterics.

Once that kind of imaginary role-game created a large point; A one who gave clothes to the clothing gave a original story and created a shiny emotional relationship. Or so it was at the turn of the millennium when such presentations replaced the catwalk of Alexander Mcquin and John Galliano, The Masters of the Craft (that is why Galliano Margila Couture is still a reference point).

Fast, however, as the shows have approached the entertainment, designers feel that the connection has been lost, using visual hysteronics and grandeur to attract attention (and break through the chaos of social media), rather than focus on how we want to see earlier, to offer succulent proposals for how we want to see earlier. It is as if they believe that, with adequate decorations, no one will notice that they have not actually come up with any new ideas.

As Demona, one of Balensiaga’s monomic designer and one of the great physicians of fashion stagecrafts was focused on “standards”: “We live at the time where everyone wants to be a main character. But the dress is a thing that is currently a problem for me, because it doesn’t make me dream.”

This is just a distraction when what is going on beyond the runway is more than distracting enough.

Pomp

This problem was clearly clear at the Mcquin show, where the designer to the McGirr, in his third outing for the brand, was trying his best to go through the old Mcquen Motions. He built a detailed set dutyly, which included a huge mahogany cabinet like something out of Wonderland, which is not with a ladder and with a mirror tunnel, such as a wormhole from another dimension (probably Dickens England). Then he also settled it with a series of demosals and dandis in Rafal Chiffon, Sharp-Sholded Jacket, High Roughs and Bullion-Encrated Ending Wear.

The cheering jacket had a wing -like collar, so a large model was temporarily blinded by a flap and exploded on the edge of the wormhole. Its effect was set to the court of “Game of Thrones” Queen Victoria, thrown with a dose of St. Laurent, but was a hollow at its core. A lot of sound and brocade, not much indication. Or not much that seemed relevant for today.

This was certainly a case in Valentino, where Mr. Mitchell’s trademark maximalism was on full performance. As were, many utter lace gowns and thanks to unheard bodiesuts more lace tights, the body itself, many of them painful thin. It is difficult to focus on the elegance of a high -necked black velvet gown, when you distract from the woman’s jutting breastbone, cut to the front to the waist.

There were really some possible compelling ideas hidden under the prize: an understanding of a metal bustier worn with an old pair of jeans; A fully chopped plaid pantsuit, with a puff of wings on the neck. But they were difficult to see all the sartorial scenes.

For example, in Dior, the fact that Maria Grazia Chiuri had a fashion offer, and was quite good, was lost in a real dream of a collaboration with Robert Wilson, practical director and playwright.

The result was a show in five acts, including a voice-over Sonorus “Once Upon a Time … Once Upon a Time,”, some lasers, asteroids were burnt in blood that had landed in red color that landed from above, and scattered the popped crystal icebergs from the floor. A flight was pterodactyl.

Oh yes – and there were clothes. Large -scale “Orlando” -Drived: Breach, Doubles, Rifted shirts and Redingots, mostly black, white and rough linen beige. But they were also clever, because, as Ms. Chiuri revealed in a preview, those big ruffles and crisp phlegm, frills on the neck and corset on the waist, were all violent, allowing the wearer to allow her to look at her in will. The way lasi resembles Little Little Knowings, was actually weaving, and the Camo trench coat was Jacquard. These are pieces that are to be seen closely to appreciate, although in the show bombing, they looked boring.

But hey: Look at Pterodactyl!

Backstage truth

This is exactly the attitude that made Balensiaga so unexpected. Damna, which took place on a 154-foot table of October 2024 Ready-to-Vear show, this time removed all the dramatic people, making a narrow labyrinth of the black screen corridors, essentially better to frame the pre-frame of the Balcanga-Im’s career. There is absolutely no calculation to calculate a speculation that this may be their last show for the brand, but one who reminds us of how he has changed the status quo over the last 10 years, and has shifted fashion.

Bankers were suits (some types of office-front tendencies are underway) built with wrinkles and moth holes, the fit was simply tightened to tighten, but no less sewn. A Perivinkle-Blu Hoodi gown that was swept away on the floor like the famous 1967 wedding dress of the house. And a lilac puffer quilt in a corset.

The expected streetwear was, which is more than normal. A puma cooperation also; A hoodi “luxury” label; Stupid swimming clothes that were essentially taking a suit bath with trains; And evening coats – including another puffer – with the grandeur of the couture. As a whole it was straight, and stopped its turf.

“The standards are the most difficult task to do the standards,” Demna said. He wore one of his suits instead of his normal oversize T-shirt, and referred to his new form as “Demana 2.0”. It was a joke, but also a signator. A acknowledgment that he understood that it was a moment down and to focus.

He said, “It is easy to put a chair on the head and create wearable art,” he said, “but now what I want to do is to make fabulous clothes for someone who understands them through wearing. To make a jacket with two sleeves that look good on many different people – it is fashion for many people – it is fashion in my most important position for me.”

He is right.