From the building to the body: electrical wires and a gritty industrial palette were integrated with Madeleine Vionnet's signature traits of bias cutting, plisse and movement. Just another way we’ve seen this week that haute couture is freeing itself from its traditional shackles.
Stand out pieces:
Seamless dresses with concentric circles laser cut out. They seemed to float over the body and fall right into place with every move, just as Vionnet's dresses did once upon a time.
Street signs and bric-a-brac and a soundtrack of dissonant jarring noises made for a presentation style that was quite different from the gilded salon norm of haute couture.
From Hussein Chalayan:
"I thought they might be a bit scared when I sent over my references of industrial objects. I like to elevate the mundane in my work and do something different from just pulling from the archives. Everyone references Vionnet today so there has to be a point of difference."
From Goga Ashkenazi:
"I don't like embellishment. I don't think couture needs to be this decorated thing. That's why I relate to Chalayan and his architectural aesthetic."