Some of the gender fluidity came in less-expected forms. The shorts, which have been a mainstay of his women’s collections from the very beginning, made their men’s debut, as ragged denim cut-offs paired with a lean pinstriped jacket or an oversize trench. The blown-up proportions of the latter underscored the softer, looser—sensual, even—approach Vaccarello took here. It was a first for him, an indication he’s finding his comfort level with his men’s while also being able to dig in and challenge himself. “I love it now,” he said. “It might sound selfish to say this, but I really project myself into the pieces. I’m trying everything on.” Even, he said, the finale looks, a terrific line-up of super-wide, super-fluid black pants, in gauzy knit or crushed pleated silk, billowing and flowing from a high and often belted waist. Vaccarello showed them as the gray-skied swelling Pacific Ocean finally slid into darkness, but it looked a whole lot more like him seeing things in a new light. For all the ideas that Chitose Abe brought to these men’s and women’s collections, nothing was as surprising as her shout-out to The Big Lebowski. Sure, we have now come to expect fashion’s supreme remixer to place quotes within her collections; but “The rug really tied the room together” from the cult film felt especially left-field like some sort of creative non-sequitur. Could it be that Abe equates her signature hybridization to the rug? Not quite. Backstage, we learned that it was the “tying together” part that interested her and that she did this with two “familiar” pieces rather than her usual clashed combos. Wardrobe archetypes gray suit, a trench, a tuxedo, her standby MA1 jacket all figured in this new exercise, which gave the impression of a more dressed-up lineup, even if each look registered the same swingy nonchalance as always. Two of the highlights came right at the start: the tuxedo shirt and pants fused into a roomy dress, undone bowtie included, followed by the reworkings of suit jackets and shirts. Some looks were tied together based on proportions; see the mini MA1 vest over an inside-out jacket or else doubled-up denim jackets. Interestingly, the looks embellished with sequins gave off the same trace of grunge as some of the more obvious sun-struck flannels and mountaineering pants made in collaboration with Gramicci. Towards the end, men’s looks presented permutations of matching shirts and jackets in superpositions that would require buying both to achieve the same effect.
While workwear conveyed the ideas of utility and comfort so paramount today, the obvious and ubiquitous sportswear inspiration was addressed obliquely, mostly in the use of high-tech fabrications of excellent quality and impeccable Italian craftsmanship. “It’s that mix of high-tech and high-craft that has become my shtick for Ferragamo,” said the designer. Actually, it’s a concept very much connected with Salvatore Ferragamo’s original philosophy; he was ahead of the game, using materials and experimenting with shapes never done before, but always rendered with the extraordinary artisanal finesse. Working alongside the company’s men’s design director Guillaume Meilland, Andrew kept the play on shapes neat and graceful, infused with a kind of restrained gloss. Volumes were sleek and just slightly oversize, to highlight a dynamic sense of ease. The same spirit was also reflected in the women’s looks, almost with a unisex approach. Georgina Grenville looked gorgeous in a softly tailored periwinkle shorts suit, but it would’ve been equally smart on the actor Hero Fiennes-Tiffin, Ralph and Joseph Fiennes’s genetically blessed nephew, who closed the show and will be the face of the new Ferragamo advertising campaign. The young Fiennes was part of a diverse cast that included the actor Josh Lucas, the stunning model Cecilia Chancellor, Sotheby’s European chairman Michael Berger-Sandhofer, and art director extraordinaire Peter Saville. From the front row, Stanley Tucci, surrounded by a plethora of glamorous young celebrities, seemed rather pleased. Ever since Anthony Vaccarello landed at Saint Laurent in 2016 in fact, even before, with his own label he has always had a preference for staging his shows so that the audience sits on only one side of the runway, giving an uninterrupted view of the unfolding spectacle. For his Summer 2020 men’s shoe, his second for the house after last June’s ’70s opium-fest in NYC, it was business as usual, if it’s possible to call staging a show on an ebonized boardwalk runway atop a Malibu beach usual. (Nope, obviously not, not even for the likes of Keanu Reeves, LaKeith Stanfield, and Miley Cyrus, who sat front row.) . That doesn’t mean that the money supply was 20 million in the anchor year. Sizes of money supply can vary widely. Now accountings of wealth do not always have to include every possible type of form of wealth. You can do accountings of all the wealth, or any portion of it, any category of it. And when one is doing calculations of a given amount of any type or category of wealth, those valuations may vary widely depending of the method used, and of course, subjectivity can always play a significant role.
6 Easy Step To Grab This Product:
- Click the button “Buy this shirt”
- Choose your style: men, women, toddlers, …
- Pic Any color you like!
- Choose size.
- Enter the delivery address.
- Wait for your shirt and let’s take a photograph.
This product belong to hieu-vu