Celine Menswear F/W 2023.24 Paris

[tricotineacetat]

I would honestly appreciate seeing a collection like his farewell Saint Laurent show at this point that surprises us with a change of direction and a less over-the-top event production.

fixed.

 

[volft]

Here, we're seeing a pile of cool clothes remixed in an eclectic manner much in the way Alessandro Michele's Gucci collections felt like an endless procession of the same thing from season to season.

It's understandable to feel that way about a collection that seems to repeat similar elements from previous seasons. It's important to remember, however, that fashion is cyclical and designers often revisit themes or ideas that they find interesting or successful.

It's worth noting, however, that even within collections that may seem similar to previous ones, there are often subtle differences and variations that can be appreciated by those with a discerning eye. Additionally, fashion is not just about the clothes themselves, but also about the context in which they are presented and the story that the designer is trying to tell. So even if the clothes themselves may seem similar, the narrative or message behind them may be different or evolving.

Overall, it's important to approach fashion with an open mind and an appreciation for the artistry and craftsmanship that goes into creating each collection.

I'm glad you brought up Alessandro, it reminds me of this NYT's writeup:

And even the ones who did change fashion didn’t really do it more than once. Having figured out their special thing, they pretty much stuck to it, season after season. (Hello, Armani jacket. How are you, Birkin bag?) That’s part of what convinced consumers that such items are worth investing in: their sheer longevity.

The chances of any designer producing two major fashion-changing ideas in one career are very small. Hedi Slimane, for one, has been doing Hedi Slimane no matter what brand’s name (Dior Homme, Saint Laurent, Celine) is over the door. Tom Ford’s Tom Ford isn’t very different from Tom Ford’s Gucci. John Galliano has switched gears at Maison Margiela from his Dior and Galliano days, true, trading his high romance and historicism for eclectic haute recycling, but as of yet, and good as it is, it hasn’t had the same impact.

Breaths are bated for Phoebe Philo’s long-anticipated debut, and the question of whether she will do another version of the elegantly adult and interior clothes she made at Céline before Mr. Slimane changed its course, or something entirely new.

But whether change should be demanded in the first place is a different question. Maybe refining the big idea, owning the big idea for posterity, rather than ceding it entirely, should be enough. At a certain point, endless disruption and reinvention becomes as tiresome as the same old, same old. And continual growth on a finite planet is a chimera that should be sent back to the fantasyland from which it arose.

Indeed, coming in the wake of the COP27 climate conference, and yet more public commitments to sustainability from all sides of the fashion industry, the Gucci switcheroo seems particularly ironic. After all, what usually happens when a brand opts for change at the top? Out with the old! If no longer to the dumpster or the incinerator, at least to the sale racks. More stuff, flooding the stores. Sustainability implies commitment to an idea of a brand, not just to biodegradable materials. It implies a long-term relationship, which has its own implicit value.

Sometimes change is good, no question. Sometimes it is necessary. (See Burberry, which is about to get a makeover under the new designer Daniel Lee after Riccardo Tisci failed to give the British brand any discernible identity.) But when it’s change for change’s sake, or change for shopping’s sake, or change for analysts’ sake, which is change for investors’ sake, it simply reinforces the bad habits we’ve gotten into. Both as consumers and as companies. And that’s … well, that’s just another word for waste.

 

[tricotineacetat]

It's understandable to feel that way about a collection that seems to repeat similar elements from previous seasons. It's important to remember, however, that fashion is cyclical and designers often revisit themes or ideas that they find interesting or successful.

It's worth noting, however, that even within collections that may seem similar to previous ones, there are often subtle differences and variations that can be appreciated by those with a discerning eye. Additionally, fashion is not just about the clothes themselves, but also about the context in which they are presented and the story that the designer is trying to tell. So even if the clothes themselves may seem similar, the narrative or message behind them may be different or evolving.

Overall, it's important to approach fashion with an open mind and an appreciation for the artistry and craftsmanship that goes into creating each collection.

I'm glad you brought up Alessandro, it reminds me of this NYT's writeup:

Look, of course there will be a slight difference in one sequinned tuxedo jacket featuring a zebra and another one with a tiger pattern. As valid as it may be to have a new iteration in the collection from a commercial point of view, it's valid to question it's impact on the runway, which is even lessened by a presentation that does not even provide you the means to fully appreciate the detail on any of the more elaborate pieces since close ups are not provided and the cut of the videos is wayyy fast. Also, he may choose to show in Le Palace, revive the CBGB or present it at Glastonbury - In the end of the day, a customer is buying first and foremost into the designer or brand because they are already enthusiasts and less the narrative of the show, especially when it's one like this that is clearly a 'business-as-usual' collection and doesn't stand out as one of those of Hedi's career that stands out.

 

[volft]

Look, of course there will be a slight difference in one sequinned tuxedo jacket featuring a zebra and another one with a tiger pattern. As valid as it may be to have a new iteration in the collection from a commercial point of view, it's valid to question it's impact on the runway, which is even lessened by a presentation that does not even provide you the means to fully appreciate the detail on any of the more elaborate pieces since close ups are not provided and the cut of the videos is wayyy fast. Also, he may choose to show in Le Palace, revive the CBGB or present it at Glastonbury - In the end of the day, a customer is buying first and foremost into the designer or brand because they are already enthusiasts and less the narrative of the show, especially when it's one like this that is clearly a 'business-as-usual' collection and doesn't stand out as one of those of Hedi's career that stands out.

It is understandable to question the impact of a new iteration in a collection, especially if it does not offer anything new or groundbreaking. However, it is also important to consider that fashion is a business, and designers and brands have to cater to the demands of their customers while staying true to their brand identity.

While the runway presentation may not always provide the best means to fully appreciate the details of the pieces, it is still a platform for designers to showcase their vision and creativity. It is up to the audience to interpret and appreciate the collection, whether it is through the runway show or other mediums such as photos or videos. More importantly, nothing will beat going to the store and seeing the pieces in person, of course. While fashion is more democratic now, it is still a gated community focused on catering to the needs of the actual customers first, many who were invited. The peanut gallery will only get quick glimpses of what the brand has to offer.

It is also true that customers may buy into a designer or brand because they are already enthusiasts, but a successful collection can also attract new customers and garner attention from the fashion industry. It doesn't feel like a coincidence that the Wiltern show was shown right after Meet Me in the Bathroom. I can't help but feel like Hedi has an agenda to spearhead, and build momentum for, the indie revival in the fashion space. There's really no one more legitimate than Hedi to take on this task.

 

[Frederic01]

CELINE

 

[Kennnnn]

I very much wanted to dress like this in the early 2000s.