Wednesday, July 8, 2015

Jacquemus // Fall 2015 //

 I feel like certain days during fashion month are underestimated. Editors, bloggers and the rest of the fashion crew are at all four fashion weeks - for the most part - and it is impossible to see everything. However, there are days such as the first day of each fashion week. At New York Fashion Week, Josie Natori is an amazing designer that shows on the first Wednesday. Bigger editors and bloggers will not be present. The fash-pack also arrive in London but are rarely seen at shows like Bora Aksu, Faustine Steinmetz, Fashion East and others in favour of the Topshop Unique and Burberry shows on Sunday and Monday, respectively. Also, the Tuesday is overlooked by editors who jet to Milan for Gucci and other labels. Paris Fashion Week’s opening day is becoming more visible due to the wealth of talent it presents each season. Dévastée, Anrealage, Anthony Vaccarello and Anne Sofie Madsen all show on this day. Simon Porte Jacquemus’ eponymous label, Jacquemus, is one that caught my eye on that day. 

Shortlisted for the LVMH Prize (of €300,000), Jacquemus told New York Magazine that womenswear design came to him “spontaneously”. He told them he “would draw things for women,” when he was a child. That childhood innocence happened to serve as inspiration for his Fall 2015 collection. As Susie Lau pointed out in her review about the bare chested models “it was about the childish state of being when you’re not aware of society’s frowning upon public nudity”. Adorned on the model’s faces was paint. With hair covering half the face, all that could be seen on the open area was another one - drawn on. The models were barefoot (the designer too as he showed his face at the end of the show) and this was another aspect of the childish concept. 
Commercialism was present in Jacquemus’ sunny South of France-inspired Spring 2015 collection. That was virtually disregarded in this collection, with a few exceptions. Between the bricolage looks there were warm coats, skirts and mini-dresses. In some cases, there were risks which I felt didn’t pay off. The usage of colour-blocking was, and has been, a favourite of mine within Jacquemus collections. Navy against camel, dark green and red. Navy against dark green. White against dark green and canary yellow.

Children can be considered the lucky ones. They are young, wild and free. They are mischievous and playful. This collection was a huge concoction of all of that. It was playful, experimental. Drawing on the dreaminess of Michel Gondry films, the collection had dreamy qualities - all of which could be perceived as childlike. The future is unpredictable. 
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