The key to Cedric Charlier’s success at the newly-refocused Cacharel is not to look back and delve too far into Cacharel’s archives. Last season’s collection where not a discernable floral print was to be found was emphasized that and this season, the floral print that we saw was a delicate hand-drawn affair superimposed and altered many times to form a graphic that was coloured in places and not in others producing a bleached out effect. The print flourished in the beginning and bloomed at the end and in the middle, was a portion of pale, bleached-out shades of putty, white, nude and grey in shapes that were minimal, clean but never stark or sterile aided by the methods of layering.
This solidly simple passage only served to make the prints look more striking when they did appear. Rendered in modern shift dresses, jackets with matching skirts and trouser, flared out trousers and cut-out knits, the print had the perfect backdrop of modern separates to be placed upon. Whatever faint feeling there was of William Morris in those bleached out prints, was erased by Charlier’s fine judgement of colour and print placement in another Cacharel collection that will raise its profile even more.
Dazed Digital: It was quite a delicate colour palette as it’s quite unusual
Cedric Charlier: I want to touch upon the intimacy of a woman. I like this contrast of lingerie colours and the rigorous cut.
DD: How was the print put together?
Cedric Charlier: If you look up close, the hand drawn prints has actually been super imposed on top of each other five times so it’s quite surreal and a fresh take on a floral.
DD: Why did you colour in some parts of the print?
Cedric Charlier: Sometimes colour is right and sometimes it’s absolutely not right.
DD: What was the mood of the collection?
Cedric Charlier: Nonchalant for me is the key word!
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