Separate names with a comma.
Discussion in 'Designers and Collections' started by donyan, Mar 23, 2019.
pics from livingly
I see great pieces but not necessarly a great collection...
I agree this collection is strong on desirable pieces, except for the big, ruched trousers, I don't see any mistakes here. If anything at all, he has been going into a more elegant direction lately. His take on couture volumes and engineered, puffy sleeves is interesting and, again, wearable. I really love the simplicity of the white V-Neck shirt dress, the breezy elegance of the black pleated one with voluminous back as well as the injections of color on the bright fushia coat as well as the silk mikado trousers he used throughout the show! <3
With designers like Lutz, it's great that he shows what he sells, unlike a lot of other designers that produce a show and will then trigger down ideas of that into more watered-down versions on the sales floor - And by that I don't need to look as far as to compare with the established brands backed by Kering or LVMH (such as Alexander McQueen) but also people like Mary Katrantzou, Christopher Kane or Peter Pilotto.
^ as always your analysis is spot on @tricotineacetat , it’s something I like about him too, you know what you’re getting when you look at the show .
I do think it’s a reason why he’s always stayed under the radar , until very recently at least , as his shows often looked underwhelming compared to his peers, and i’m not sure it’s served him in that respect.
But considering how long he’s been around he must have done something right.
I like this collection, maybe a little less than last FW which I loved , it it’s still good and one that I’ll buy.
I think you can clearly see the Belgian handwriting in Lutz' work - Not for the obvious reason that he assisted under Martin Margiela, but because of the way he designs, presents and markets his collection, which is very similar to how Veronique Branquinho, Christian Wijnants and even Dries Van Noten are doing - These designers are designing first and foremost with a customer in mind and not an impactful show statement, and because of that, often fall below the radar of the usual 'fashion conversation' (One of the most shivering terms brought up in the last years). Their market positioning, by standard of American luxury RTW, would probably be considered 'upper contemporary market', even though that is a term often coming with the connotation of less prestige - A reason why designers like Lemaire and Haider Ackermann probably chose to raise their prices the moment their work received more attention by the press - At the risk of obscuring their potential customers, if I may guess.
True^ this is probably one of the reasons why Belgian Designers managed , more often than not , to become successful, compared to young London Designers they were always much more about the clothes than the show , while still doing interesting work. God I miss Veronique Branquhino, it used to be one of my go-to Collections, every season I would find something to buy and wear, same with Margiela.