Announcing... The 2nd Annual theFashionSpot Awards. Vote NOW via the links below:
Designer of the YearThank you for participating!
VOTING WILL CLOSE 27/12/2024 EOD!
ultra-short dresses with floor-length, flyaway trains in the back might look cool on the runway, but let's face it, these dresses would work only on a small majority of women that can afford these clothes, on top of the fact that the question is left unanswered where these clothes will be worn except from (maybe) the red carpet (and at that it would have to be a VERY cool and independently-minded actress/starlet pulling off these looks)? rochas was widely criticized for being a collection consisting only of extremely price-y cocktail dresses and evening gowns, but what it also had were skirt- and pantsuits and separates that any woman could have worn and looked good in. with nina ricci, i don't see who exactly is going to be targeted with these clothes? and who buys it in the end?? certainly this show collection did not answer any questions on who the new ricci girl/woman is. they better have a more customer-friendly proposal up in the showroom.
Seems like she agrees, that, while beauty can be found here, it's nothing new, or particularly exciting for Theyskens and it certainly isn't taking Nina Ricci into new territory.Olivier Theyskens' collection for Nina Ricci was like watching the performance of a long piece of self-referential romantic poetry. It's a world of his own, and to fully appreciate it, you need to know what's gone before in his work: his love of Edwardiana and tail coats; the fluttery, flyaway cutting; the delicate prints and the dusty, organic, woodland-floor palettes he likes.
This season, he said he was "inspired by dance, and dresses that each evolved their own shape; short in the front and long in the back." Though there were some of the flange-sided, jodhpurlike pants Theyskens has been developing for the past few seasons, and a sighting or two of his signature jackets (like an off-white crackle-leather with Victoriana sleeves, or one that was made from blue-gray chiffon), most of the show was devoted to a long sequence of trail-y dresses. Essentially, it was a single silhouette, with a high collar, leg-of-mutton sleeves, and skirts cut away to show long lengths of leg, clad in sheer black tights, walking on high-heeled pumps.
As the dresses came and went on a long runway, the vista of floating trains and looped-up demi bustles had a certain cinematic beauty and technical ingenuity—georgette panels became fused with hosiery to flow from the leg in movement. In all? Exquisite and ethereal though it was, the vision seemed too limited to take Theyskens' talent anywhere new.