That said, I don't know why Cathy Horyn is praising his pulling tights over the shoes, when Doo.Ri was doing that two years ago for the same effect/reason.
Look closer, you'll notice that it's more than a styling trick, which is all that Doo Ri did (and probably thought of by a stylist she hired). These stockings are actually designed into the shoe. Possibly they're an accoutrement (like Prada's troublesome footies) or maybe it's actually fused. I smell a trend for conspicuous and integrated sock fashions.
Amazing collection, as relentless as before. Ghesquire is a futurist, always has been and always will be, and it's coming to a head with this collection. It's perhaps one of the most literal interpretations and yet, as result of the styling, it's some of the most approachable. His plundering of science fiction lexicon is tireless and as cliche as it could be (like in the way Gareth Pugh approaches it) it doesn't suffer from it. You get distracted by all the alien glitz that your forget that these pieces are not fabricated in the future but are made here on earth in the present. And that realization is stunning. It's clearly evident he's putting his atelier to use and what better way to approach construction and design then using a concept based off the unknown and yet-to-be-dreamed aesthetics of a world of tomorrow.
There's a maturity here that was absent from his earlier shows (2001-2004), the threads have recently been revived on the forum. He established his sci-fi look, a nod to his adolescent yearnings, and they were executed impeccably but with a strong undertone of sex and youth. These recent collections and especially this one is much more calm, much more collected. In a sense it's less Alaia and Montana than before. It doesn't scream and shout the way a Christopher Kane collection might (who owes much of his aesthetic to Ghesquire and borders on derivative). You are able to envision it on someone older than 30, for once. Maybe Maggie Cheung and Charlotte Gainsbourg are getting older.
This collection is not obvious in that there are clear and digestible pieces immediately craving your ownership. They force you to think, they require you to truly evaluate the context in which they will become a part of your life. This is the same quality that permeates Ghesquire's work from the earlier part of the decade and it's no surprise that it's those collections that are constantly being referenced now- 5 years later. There's some currency in thinking about the future.