Apr 18, 2019 | By Cassandra Gagnon
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Was it a case of best ’til last?
The WGSN Catwalks Team weigh in on their favourite shows of the last leg of Fashion Month.
For the full review of the best bits of Paris, head here.
I’m always on the lookout for new talent and this season, Marine Serre really rustled my feathers! I’m also a huge fan of any young designer championing sustainable practice, so Serre’s eclectic creations sourced from vintage scarves showed innovation and ethic. Dubbed “Futurewear” Serre’s covetable takes on survivalist garb satirically quipped on a post-apocalyptic world, with utility jackets boasting pockets for iPhones, lipsticks and flashlights. You could see the influence from her time at Balenciaga, and only into her second season, there was whisper in the wind that Serre could be the most exciting designer to come out of Paris since Demna himself.
I know this is an obvious choice, but I’m all about Balenciaga this season (and every season if we’re honest). Where to start? I mean, first off there’s the giant graffiti mountain, and that sneaky fake hotline (+33 156 528 799 if you’re interested), and also all the hilarious memes that followed on Insta. But beyond all that external hype, it was Demna’s celebration of modern tailoring, OTT layering and technical innovation that made the collection so special for me. The fusion of tech x fashion came to life on those acutely sculpted blazers and coats, which were made from a singular piece of fabric (!!), and had been digitally fitted on models with a 3D scanner. Additionally, I’m all for brands that stand for something, and I loved that Balenciaga partnered with the World Food Programme, donating $250,000 to the charity, plus a 10% cut of all the sales proceeds.
Today is International Womens’ Day, and coupled with this are the profound messages that have resonated throughout this last fashion month. I could not think of a more heartfelt collection that embodied the strong feminine spirit than Sarah Burton’s presentation for Alexander McQueen. In the wake of #MeToo and #TimesUp, Burton exuded a quiet confidence that spoke volumes, imbuing her collection with a presentation that combined strength, fragility and beauty. Her silhouettes were exquisitely tailored with the evocative drama of black and red combinations. The analogy to the metamorphosis of a butterfly, “it began with butterflies and bugs and paradise found rather than lost”, was a poignant analogy. After all, are we not butterflies breaking free?
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