Back views mattered: one dress had a low-down half-moon cutout that reverbed sexily from the showstopper Mulier sent out last season. Moving toward evening, Mulier’s drapes in black cotton were whipped around the body in a dynamic caught between sophistication and romance. There was another kind of bomber-hoodie and a distinct echo of an army-surplus parka then, Mulier’s choice of faded denim rather than Alaïa’s classic rigid version. But there was surely the hint of other Belgian street vibes going on. The white dress, with its scarf over the head, serendipitously evoked the drape of the North African hoods Alaïa often referenced. So on that level it's very Antwerp.Very simple.” “There’s a white dress where we just cut it, draped, attached it-and that was it. But it needs to be sensual, where all the drapes are circles,” he said. ![]() I told the team, I want it to be as minimal as possible, with the maximum effect. ![]() Also a nod to a dress Alaïa once made.īut where was the Belgian identity of Mulier beginning to be apparent? “The tailoring is very minimal. They were conceptual ‘pins’-part homage to the dressmaking and fitting process, part perverse play on piercing sharpness versus softness. Eyes zoomed in to figure out the lines of glinting silver that were running down the backs of sleeves and undulating over hips. There were bodysuits, jackets, bustiers, and flipped-out skating skirts. Rounded shoulders, sculpted torso, narrowed hips, elongated silhouette: the beginning, in dense immaculately-fitted dark brown jersey, introduced it.
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