Shows

A.P.C. RTW Spring 2019

Jean and Judith Touitou took another step this season and moved outside the label’s intimate Rue Madame headquarters to show their coed lineup. They headed to a cavernous garage, emptied of cars and outfitted with roving spotlights that announced the start of the show.
The first look set the upbeat, rockabilly tone. Down the concrete car ramp came a sleek, jeans pants-and-shirt ensemble in dark blue with white stitching, a charming Elvis coiffe and pointy white boots, keys jangling from the belt. The bright blue bandana tightly wrapped around the model’s neck allowed a peek of the bright yellow T-shirt underneath.
It’s increasingly a question of survival-of-the-fittest in apparel these days and, not one to be left behind, the label is hankering after growth.
With their spring collection, the couple nudged their specific breed of easy and wearable elegance into younger territory, with their offer of jeans, colorful sweaters, smart outerwear and belt bags stamped with an A, a P or a C.
Dresses were cut sensibly, continuing in the same register as last season — non fussy, elegant and #metoo age-appropriate. These included a checked trenchcoat dress and several prairie dresses. The label’s emphasis on outerwear was expanded to include brighter colors, and

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Via:: https://wwd.com/runway/spring-2019/paris/apc/review/

      

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Dušan RTW Spring 2019

Understated luxury is the code word for Dusan Paunovic’s collection, constructed from high-end fabrics that are the building blocks for his cathedral of minimalism. For spring, the Serbian-born designer worked in a muted color palette of neutrals, working a raw-edged beige and cream herringbone linen, for example, into an elegant yet relaxed spaghetti-strap dress.
Superlight cashmere and silk knits, wide-legged linen culottes and Japanese hand-pressed lamé skirts, all staples in the Dušan vocabulary, were the backbone of the lineup. The outerwear was also strong, as demonstrated with a camel Loro Piana water-repellent cashmere coat with lining and contrasting Mao collar in white neoprene.
His patchworks of supersoft silk scarf prints in a palette of navy, forest green and dusty pink, used on flowing pants and sleeveless tops with a simple tie at the back of the neck, worked a treat.

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Via:: https://wwd.com/runway/spring-2019/paris/dusan/review/

      

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Miu Miu RTW Spring 2019

Before the start of Miu Miu’s spring show, the room was dark to enhance viewing of close-up video of models’ faces, their hair pulled back in headbands, one with a bold swipe of red across her eyelids, another with crimson lips, that was projected on white bubble letters spelling out the brand’s logo. It made you wonder if a beauty launch was afoot. In fact, the collection was about “deconstructing beauty,” explained Miuccia Prada after the show. “It’s talking about what’s interesting now — tailoring, glamour, elegance — reworking it and that’s what I did.”
You could take her at her word. The building blocks of a woman’s wardrobe, with the exception of any trace of hyper casual athleticwear, were on Prada’s table, up for reassessment. The question posed seemed to be: How to make it modern? The answer was to be to embrace the look of DIY, recycling, upcycling even if everything is brand new. It was all far from homespun, yet it took Prada’s signature ugly/pretty (but pretty perfect) trope in a different direction with a rare exploration of the rough side of imperfection. Consider the casting: aside from a few big name models, the runway was full of

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Via:: https://wwd.com/runway/spring-2019/paris/miu-miu/review/

      

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Beautiful People RTW Spring 2019

After Chanel’s beach extravaganza, guests remarked that the venue for the Beautiful People show looked a bit stark in comparison. All the best to keep the audience’s attention on the complicated construction of the garments themselves. In the last part of the show, members of the studio had to actually come on to the runway to assemble four silhouettes, confirming the theme of the collection, “Puzzles.” The team demonstrated how bunched-up waists and dangling threads could be pieced together to form a less deconstructed look.
Designer Hidenori Kumakiri managed to break linen into eveningwear. Proof that natural fabrics don’t have to be limited to leisurewear, linens were delivered in an elegant spread of pleated cream and rich burgundy. The designer revealed backstage that the hues were created by dipping fabrics in red and white wine, which also added texture. The process is part of the brand’s experimentation with natural dyeing; deep blacks were achieved thanks to bamboo coal.
Pops of lime and gray-blue prevented the collection from feeling too earthy. Jackets appeared shrunken, because they actually were: Their original XXL size became fitted once immersed in salt water.
Prints were discreet — small checks and stripes in blue and mauve — and skirts

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Via:: https://wwd.com/runway/spring-2019/paris/beautiful-people/review/

      

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Chanel RTW Spring 2019

Excuse the clichéd lede, but at Chanel, life’s a beach. Not a shark-attack beach or a misogynist beach, but a serene, inviting blue-sky beach, with real water undulating into and away from the pristine sand.
Inspired by the shores of Sylt, the German island Karl Lagerfeld frequented as a child, the Chanel waterfront was gloriously peaceful. (Not to mention well-tended, another astonishing display of Chanel execution and Wertheimer largess created inside the Grand Palais.) You could close you eyes and let the sounds of the gently rushing water transport you anywhere your mind felt like wandering. That is, if you got there early. But then the revelers showed up — Pharrell Williams, Vanessa Paradis and Pamela Anderson (Sylt, Schmylt. Bring on the “Baywatch” nostalgia.)
They shook off the sand and settled into their boardwalk-bench seats in time for a rollicking beach romp. Lagerfeld is brilliant at presenting the Chanel oeuvre in a different light season after season, with mood changes from refined to cool to bourgeois, while altering the intensity of the house iconography (at least all markers save for those essential jackets), sometimes lightening up on buttons, camellias, double-Cs, even handbags. Not here. This was a flamboyant merch fest — unabashed, shameless, and wonderfully so.

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Via:: https://wwd.com/runway/spring-2019/paris/chanel/review/

      

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Esteban Cortazar RTW Spring 2019

Esteban Cortazar gets to work on his spring collection when his mind is fresh from a month-long holiday in the summer. He relaxes, reflects, appreciates nature. “I go to a place like Ibiza where people watch the sunset and they literally clap afterward, it’s a thing,” Cortazar said backstage. “I love that so much, and I know it’s a cliché to reference a sunset, but it’s one of the most beautiful things we live in a daily basis.”
What wasn’t cliché was his collection. Cortazar worked within the parameters of sexy, summer dressing but populated the lineup with unusual details and decorative effects. Not all of them worked — for example, a sheer black slip dress with a little harness of pink fringe underlining the breasts, and a black off-shoulder top layered with a leather corset with cups that looked like half beach balls — but those that did were warm, inviting and very pretty. Pairing silk jacquard jogging shorts with a dusty pink crinkled silk robe worn open over a matching shirt gave a romantic, elegant summer look a casual, playful element that wasn’t cheesy. Robes and capes in ombre sunset colors were highlights, as were tops, dresses and tailoring

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Via:: https://wwd.com/runway/spring-2019/paris/esteban-cortazar/review/

      

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Sandro RTW Spring 2019

Sandro’s French girl style became a bit more adventurous this season, as American influence seeped across the Atlantic, adding color and more diversity to her wardrobe. Evelyn Chetrite had the Hamptons of the Nineties in mind, and drew on the preppy, yachting vibes she found there. Silky blouses and dresses carried nautical motifs, flowers and butterflies, like printed scarves of the period, and there was a pleated skirt printed with flags. Also in the old-school vein were gold buttoned cardigans and striped, double-breasted suit jackets.
This, Chetrite brought into a contemporary environment, adding masculine trench coats, stonewashed jeans and sneaker models Flame and Astro to the mix.
For the music festival-goers, tie-dye t-shirts had Smiley faces and there was a white cardigan marked “techno love.” An elegant knit top came in neon green, and a rainbow striped t-shirt read “Don’t be late for love.”
The collection reflected more varied and relaxed styles seen on the Parisian streets — the French girl is growing increasingly laid back.

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Via:: https://wwd.com/runway/spring-2019/paris/sandro/review/

      

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Shiatzy Chen RTW Spring 2019

Wang Chen Tsai-Hsia continued to strip years off her brand in this fresh, sporty, youthful collection, with tracksuit tops spliced with lace bands and sneakers finishing off all the looks.
Lengths were mainly short, with the designer moving between clean cotton silhouettes and her signature lingerie styles, including frilly slips, sheer tulle petticoats and a pretty sheer black top mixing in polka dots.
The set, with its path of colored blocks printed with symbols from a Chinese game, lent a vague “Alice in Wonderland” mood, underscored by the innocent attitude of the collection, with some looks embroidered with animals.
Rabbits climbed across a silk bomber cut slightly longer at the back, while ducks in flight animated a more minimalist pairing of a white shirt with a T-shirt shape and a black zipped skirt. A black coat teamed with beasties. The designer also sent out pared-down takes on traditional dress with illustrated landscape scenes depicting bridges and storks.
It never tipped into kitsch territory, though, with Tsai-Hsia using discreet placements and tone-on-tone embroidery. It was charming, adding personality to the collection, and space to dream.

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Via:: https://wwd.com/runway/spring-2019/paris/shiatzy-chen/review/

      

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Leonard Paris RTW Spring 2019

Christine Phung covered a lot of territory this season. She wanted a relaxed look for a woman “who travels, who is free, who has nothing holding her back and who explores,” she explained, backstage before the show. This woman is also chic, of course.
Explore she did, kicking off the lineup with a boiler suit made from a savannah print unearthed in the house archives — a beautiful hand-painted landscape print that had never been used.
Tailored pieces came first. Trenchcoats and uniform-inspired pieces included pleated trousers and shorts, the volumes amped-up nicely; collared safari shirts, and dresses and vests with square pockets.
Then, shifting to fluid silhouettes — draping, knotting and interlacing fabric — and broadening and brightening the colors, she worked in influences from the Maasai region of Kenya and Tanzania. The seminomadic people who live there are known for extravagant jewelry and colorful clothing; Phung added dangling earrings and necklaces, all in silver, made with thin chains and small medallions.
Elements of pointillism, applied through embroidery, produced a stunner — a long, wrap dress with dark blue and autumn accents.
The segues were a bit challenging — the show ended with pieces plucked from the archives to mark the house’s 60th anniversary —

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Via:: https://wwd.com/runway/spring-2019/paris/leonard/review/

      

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John Galliano RTW Spring 2019

Add John Galliano to the list of brands going coed this season. The founder of the brand, who now designs for Maison Margiela, pushed the limits of the concept for spring at Margiela with a deep dive into gender fluidity. But Bill Gaytten, in charge of the John Galliano label since the exit of Galliano himself, took a more classical route.
Gaytten is fond of a theme, and this time it was “Picnic at Hanging Rock.” Though the show notes underlined he was referring to the original novel by Joan Lindsay, rather than the film adaptation by Peter Weir or the recent Amazon miniseries, the distinction was moot. The title has become synonymous with virginal Victorian dresses, straw boater hats and lace-up ankle boots, which formed the basis of the collection, though Gaytten brought a dose of punk attitude into the mix.
A sheer blue gown trimmed with white lace was paired with men’s Y-fronts featuring mesh side panels, while a dotted tulle pinafore topped a pair of briefs and a leg-of-mutton-sleeve shirt in the label’s signature Galliano Gazette print.
Tailoring crossed gender lines, with both sexes sporting variations on school uniform blazers and oversized workwear pants held up with broad suspenders. Dirt-trodden

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Via:: https://wwd.com/runway/spring-2019/paris/john-galliano/review/

      

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Giambattista Valli RTW Spring 2019

Giambattista Valli divided his assured, low-key spring show into two chapters, the first dedicated to ivory looks inspired by artist Yoko Ono. “She’s an icon not only for her style, but also for her state of mind,” the designer said backstage, musing that she shares fundamental characteristics with the Valli woman. “She’s independent, a free spirit and has a beautiful soul.” The show was set to Ono’s “Mrs Lennon” song, with guests seated on a plush beige shag carpet that crept from the floor over benches. It was cushy — although probably not comfortable enough for a full Ono-style bed-in.
Silhouettes then became more exotic. The designer was reading Pier Paolo Pasolini’s “The Scent of India” while designing the collection, and imagined the effect a trip to India would have had on Ono’s wardrobe.
Flashes of tiger print were seen on skirts, trousers and jackets, stamped with a small circular logo. Thick gold chains with stone pendants hung around necks, while some models sported leather fringed stoles over long dresses. Dresses embroidered with a sequined lip pattern felt like a footnote, but were soon forgotten.
Though Valli has been expanding his brand’s vocabulary since its acquisition by the Pinault family’s investment arm,

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Via:: https://wwd.com/runway/spring-2019/paris/giambattista-valli/review/

      

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Stella McCartney RTW Spring 2019

Stella McCartney is a fashion pragmatist — no runway indulgences for her. Only chic, real-dressing options for women, and now, men.
Brava! — a laudable philosophy, and more resonant than ever when it comes to McCartney’s relationship with her female customers, given the cultural moment and the fact that, 30-plus years after Donna Karan brought the concept of a designer talking woman-to-woman into the forefront of fashion, there are still woefully few women helming major houses.
However, the runway transmission of McCartney’s solutions-based ethos can sometimes lack excitement. That happened here in a collection low on thrall factor yet replete with smart, stylish clothes. As always, McCartney worked oppositional forces with casual charm, her program notes flagging a fusion of “strength and softness…the bold and the feminine.” While the collection wasn’t gender-neutral, some themes went both ways, namely, pale-toned suits that worked an offbeat dichotomy of ease and austerity; a gentle tie-die motif and some flower sightings. A timely utilitarian thread got a nifty touch — vertical zippers on cargo pants that opened up for an interesting ripple effect. That hardware crossed over with a touch of unexpected edge to the soft side, with zippers adding and subtracting volume to Screen Siren

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Via:: https://wwd.com/runway/spring-2019/paris/stella-mccartney/review/

      

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Sacai RTW Spring 2019

Chitose Abe does what she does and she does it incredibly well. The colors, the patterns, the references change from season to season but the template remains the same — hybrid dressing. She makes it look easy. She makes it wearable. Keeping it current is a matter of her impeccable taste and exacting eye.
For spring, she cast her gaze on crisp white cottons, tuxedo shirts, fisherman jackets, florescent colors, trenchcoat khaki, denim, madras, polo shirts and painterly collages. That’s a lot of ground to cover and material blend without making a mess. Abe has pared down from her earlier collections. The volumes are more controlled, the number of garments fused together limited so a woman can break out a piece and work it into her wardrobe without fear of looking like a clown.
To list off all the looks in the spring lineup would be exhausting. The whites were worn with white. Trenches were fused with denim jackets. Polos merged into the painterly. It all made sense, if it didn’t warrant much in terms of critical assessment. It is what it is. It’s very good. How will it advance? It very well might not.

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Via:: https://wwd.com/runway/spring-2019/paris/sacai/review/

      

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Givenchy RTW Spring 2019

Gender identity is one of the most pervasive conversations in fashion right now. It seemed Clare Waight Keller was getting in on it, too, when she revealed that the main inspiration for her spring Givenchy show was the life of Annemarie Schwarzenbach, a Swiss writer in the 1930s who bucked gender norms from an early age, dressing like a boy, dressing like a girl as she pleased without much resistance from her parents. Making a gender-neutral collection wasn’t of interest to Waight Keller, but rather how a woman drawn to her masculine side defines her femininity. “I felt there was something fascinating about the fact that [gender] is a topical thing right now, but there was something about [Schwarzenberg’s story] for me that talked about a different kind of femininity because there was a modesty to it,” Waight Keller said before the show.
Photos of Schwarzenberg depict an elegant woman with short, neatly combed hair, who clearly preferred boyish tailoring and sportswear, but wasn’t opposed to an evening gown. She projects confidence, a sense of ease in her own skin and sensuality. She was apparently quite the seductress.
Waight Keller captured this attitude masterfully. The models who opened the show all had

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Via:: https://wwd.com/runway/spring-2019/paris/givenchy/review/

      

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Maticevski RTW Spring 2018

Toni Maticevski focused on dramatic, sculptural gowns and looked to the bewitching nature of poisonous blooms, “and how beautiful and intoxicating and deadly they can be. Which links back to relationships and life, all those things become entwined.”
The storyline was expressed through the color palette, like on a sleeveless, floor-length, ruffled mauve gown, or a brown dress in a leatherlike coated jersey, an explosion of ruffles at the neck, as if “suffocating and enveloping the body.” A lace gown had been sprayed a startling shade of fluorescent yellow, while a group of gray acid-washed jersey pieces grew from the idea of “nature springing out of concrete.”
The designer expressed his love of draping, layering and ruffling by experimenting with organic plant-like forms designed to twist and morph around the body.
“It’s about who responds to it and how they respond to it,” said Maticevski, whose typical client is no wallflower. For others, the creations could be a little overpowering.

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Via:: https://wwd.com/runway/spring-2019/paris/maticevski/review/

      

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Masha Ma RTW Spring 2019

Masha Ma kicked off her spring lineup with a shirtdress, which she described as “clinical, clean and sharp.” It was also very feminine, confirming this was an exercise in slate-cleaning. What followed marked a turn into a softer, more fluid and luxurious place with a collection that felt self assured.
She turned her back on the club scenes but her interests continue to lie in a strange, futuristic universe — and she referenced the film “Annihilation” for this season.
The color palette had less black and electric blue, but a lot of bright emerald green, yellow and safari hues. Outerwear remained an obsession, with ongoing support from sponsor Kolon Sport; highlights included a long, pale yellow rain coat with fin-like flaps jetting up off the back, a shiny emerald green bomber with oversize arms and a short tan rain jacket with a hood.
“I want my woman to be protected in my clothes but at the same time not restricted,” she said backstage before the show. She also noted the label has taken on casting director Barbara Nicoli, known for her work with Gucci, and that under new operating rules, aims for a beautiful and intellectual look.
“I want them to look intellectual, not

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Via:: https://wwd.com/runway/spring-2019/paris/masha-ma/review/

      

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Poiret RTW Spring 2019

This summer’s heat wave has lingered in more ways than one. Not only have the temperatures in Paris this week been unseasonably warm, but the catwalks have also been awash with breezy fabrics and vibrant color.
At Poiret, it was as if a Saharan wind had blown through the collection, carrying with it the colors of ocher dunes and indigo Tuareg veils. For her sophomore outing at the recently revived French heritage label, Yiqing Yin sent out gently draped clothes that swirled around the body, promising sweet relief from scorching weather.
There were hints of sari draping in a pink dress, while pants came in billowing sarouel shapes, paired with a workwear-inspired shirt or a trim leather jacket. She beefed up her daywear with the introduction of denim, and a terrific selection of outerwear, including a white trenchcoat with a softly pleated shoulder panel.
Yin collaborated with artist Bernard Frize on striped patterns that she warped with layers of gauzy crinkled knits. The two share an unerring sense for color harmonies. The designer layered hot pink chiffon over burnt orange satin, and played a harmony of pastels on a crinkled tank top and shorts, coolly topped with a robe coat.
These clothes were made

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Via:: https://wwd.com/runway/spring-2019/paris/poiret/review/

      

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Azzedine Alaïa RTW Spring 2019

Since Azzedine Alaïa passed away unexpectedly last year, his design team has focused on remaining as faithful as possible to the couturier, who famously ignored show seasons and staged catwalk displays when he felt like it.
Some of his couture creations, originally shown between 2010 and 2015, are available by special order directly in the brand’s stores.
Since last season, the label also offers faithful reproductions of vintage designs under the Editions ready-to-wear label. For spring, they include an hourglass denim blazer from 1990, and a cropped white cotton poplin shirt from 1985.
The main collection reprised some of them — the white shirt, for example, came in a slightly longer version — and riffed on house codes such as cotton eyelet sundresses, raffia-fringed knits and ultra-fine ankle-length knit dresses. The timeless approach makes sense — at $4,000 apiece, the knit gowns are naturally investment pieces.
A capsule collection of dresses, T-shirts, bags, scarves and shoes featured a heart and ribbon motif lifted from Alaïa’s spring 1992 collection. Inscribed with the phrase “Mon Coeur est à Papa,” it refers to the nickname that models including Naomi Campbell used for Alaïa, whom they saw as a father figure.

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Via:: https://wwd.com/runway/spring-2019/paris/azzedine-alaia/review/

      

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Balenciaga RTW Spring 2019

“Modern glamour…” Demna Gvasalia mused after presenting his collection. “Elegance, glamour, all the words that seem, kind of, taboo today. ”
For spring, Gvasalia sought glamour “in the context of now.” And for shedding those dusty associations, there’s nothing like a little, or a lot, of high tech. Enter artist Jon Rafman, whom he’d met at Art Basel. Together, the two produced a stunning, immersive event-cum-fashion show that awed with its brazen acknowledgment of how technology has taken over the world and our world. Rafman’s specially commissioned video work, “The Ride Never Ends,” encapsulated Gvasalia’s audience in a four-sided tunnel arranged around the perimeter of a vast space outside the city limits. Backstage after the show, the designer apologized for taking his guests so far away, but explained he needed the space. Fair enough. It was the kind of head-spinning experience for which you’d need museum tickets months in advance. But courtesy of Monsieur Pinault, voila! A 30-minute Sunday-morning drive, and step right in.
As guests did so, they were lulled into a sense of calm — eyes open or closed, you could drift away — surrounded by LED projections and sounds of rain drops on three sides falling in deep blue night, while underfoot, the virtual water rippled and pooled

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Via:: https://wwd.com/runway/spring-2019/paris/balenciaga/review/

      

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Marcelo Burlon County of Milan RTW Spring 2019

Marcelo Burlon presented the women’s act of his latest collaboration, “Close Encounters of the Third Kind,” shown during Milan men’s week in June. (Think embroidered T-shirts and sweatshirts sporting graphics based on the movie’s posters and floppy disks; denim with “pharmaceutical graphics,” and sporty basics in neon colors, acid washes and technical fabrications.)
In the mix was athletic-inspired gear, like Lycra and mesh crop tops; a Morse Code T-shirt; black-and-pink striped shirts and a black silk blazer. “Since Day One, we’ve always mixed fashion and sports,” said the designer, who was back from a trip to promote his collaboration with the NBA.
Burlon said he’s just opened his second store in Hong Kong, with stores planned for Singapore, Manila and Dubai.

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Via:: https://wwd.com/runway/spring-2019/paris/marcelo-burlon-county-of-milan/review/

      

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