Pyer Moss Haute Couture F/W 2021.22 New York

[velvetandsilk]

Flush a few million dollars down the toilet, don't even put on a boring, simple show in Paris. $100,000-250,000 is easily enough for a basic show.

 

[Phuel]

^^^ Wouldn’t be the least surprised that his production costs were a tad inflated, with a few of those millions quietly transferred to a personal account, while many that contributed to his brand are still left unpaid. It’s a story as old as time.

I agree. I didn't even look at The Cut's IG, but I can just imagine what is being said. I am troubled as to why the low is celebrated, but when someone of colour actually does amazing things, it goes unnoticed. Christopher John Rogers, while not the best, is doing something good with his company and he seems like a nice person and enjoys the design process I can tell. It's not all about the show like with KJR and Jacquemus. Jacquemus at least has a business model of some sort and makes people dream (he gives me nightmares though lol). KJR just is NOT a designer. He could develop into one if he was serious about it and put that ego down.

Christopher John Rogers is an interesting case.

He rode that frantic wave of Black American creatives support and with all the afforded advantages/privileges— including the Target collab, and he noticeably invested in improving the tailoring quality of his designs. His actual design talent unfortunately, is just department-store fodder: It’s very commercial, accessible and on the generic side. Hopefully, he will continue to plug away and improve. @Mutterlein compared him to Tod Oldham— and that’s fairly accurate, and look where that brand quickly devolved to.

The blame shouldn’t lay all on Kerby alone. It’s the industry that’s so quick, so desperate, so transparent, to align and ally with the most popular of Black creatives for relevance/clout/popularity in that one hot moment, knowing full well that their enabled Chosen One was always blatantly, grossly incompetent as a creative. It’s hilarious actually how blatantly racist it all is: They only wanted a token mascot that boosted their public image and never cared for talent— or lack thereof. Stop supporting incompetence.

It’s also unfortunate that the loudest, most obnoxious, most untalented race-hustling grifter managed to snake his way to the top, only to be finally exposed for what many already know as a charlatan. Because it’s opportunists like him— and sadly too many others quick to exploit the race hustle and quickly proven to be all hot air and not much else, that will make it so much harder for dedicated, impassioned creatives whom happened to be Black, to be trusted such an opportunity now.

 

[Salvatore]

Totally agree with this all, @Phuel ^^
KJR talked a big game but couldn’t back it up and now he’s mad because of his ineptitude. It started with Virgil I guess ?

And yes, CJR is definitely closer to Todd Oldham and for sure is department store fodder, but maybe he will lean into that further and somehow make it a business. If Christian Siriano can still exist after all of these years (which I think is CJR’s closest contemporary), anyone can with the right business side.

 

[jeanclaude]

For me the most shocking part here is Kering lack of control, when they dediced to invest on Pyer Moss.
How can they put their money in a brand, without auditing it first to check if everything is ok, is beyond any kind of rational mind!

And even more shocking is that they kept giving this guy more money...without any kind of control (when it was obvious everything was not working as it was supposed to be).

Now I can understand why the Balenciaga ad scandal happened: there is a total lack of care at Kering. And I think that instead of changing fashion designers so often, they should change their execs more often. They have a big problem.

 

[Deleted member 7575]

Amen

Totally agree with this all, @Phuel ^^
KJR talked a big game but couldn’t back it up and now he’s mad because of his ineptitude. It started with Virgil I guess ?

And yes, CJR is definitely closer to Todd Oldham and for sure is department store fodder, but maybe he will lean into that further and somehow make it a business. If Christian Siriano can still exist after all of these years (which I think is CJR’s closest contemporary), anyone can with the right business side.

Don't blame Virgil.

He may have been just as talentless but he did his job. He worked hard and he used his opportunities and clout to help other people of color and lift them up.

I absolutely hated his clothes but I can at least respect him as a professional.

 

[Mademonsieur]

Re-reading this thread and how it was a big deal for a black designer to be making haute couture, I wonder why I haven't seen any mention of Haider Ackermann's race when it comes to his collection's coverage. Maybe I've missed it because I've had very busy weeks lately and I must admit I haven't had the time to read as much as I would like about the most recent Haute Couture Week. Isn't Haider a latino of color? And I might be wrong but didn't Olivier Rousteing, who is black, make haute couture in fall/winter 2020 for Balmain before Pyer Moss?

 

[LadyJunon]

Re-reading this thread and how it was a big deal for a black designer to be making haute couture, I wonder why I haven't seen any mention of Haider Ackermann's race when it comes to his collection's coverage. Maybe I've missed it because I've had very busy weeks lately and I must admit I haven't had the time to read as much as I would like about the most recent Haute Couture Week. Isn't Haider a latino of color? And I might be wrong but didn't Olivier Rousteing, who is black, make haute couture in fall/winter 2020 for Balmain before Pyer Moss?

We have Imane Ayissi, who consistently shows as a guest member at Couture Week. We also had Patrick Kelly at one point during the '90s. There was also a good slew of Asian and Arab designers on the calendar around the mid/late '10s, though they shifted more domestically during COVID-19.

I feel like the press like to "erase" the successes of previous designers to make those of current designers seem even more important and revolutionary. Technically, MGC isn't even the first female creative director for Dior, it's actually Lucie Meier.

 

[jeanclaude]

Stephen Burrows is still alive (79 y.o.)...and he is not praised as he deserves! And nobody is better than him with colour-blocking.

(squarespace-cdn.com)

 

[Deleted member 1957]

Also the full article on The Cut goes into quite a bit of detail, including about the infamous "peanut butter couture" collection so it's worth posting here (the ultimate joke is the couple of leftover stray idiots still defending him in the comments as a "genius who flys by the seat of his pants"), we all know full well that two years ago any criticism of his designs or working/business methods would have been counter-criticised as racist, now I guess we're in 2023 and even the Cut can speak frankly about just how bad they actually were.

I did actually enjoy his streetwear/rtw collections they had a great vibe but the couture collection was the nail in the coffin. He needs to iron out his personality and go back to Streetwear maybe make some lucrative collabs wit sportswear brands.

 

[Deleted member 1957]

We can all agree that this wasn’t AS bad as Lindsay Lohan’s collection for Ungaro…

I had even forgotten about it but a quick google search made me realize that it wasnt actually that bad. Nothing different from what YSL or some other high fashion brands are showing nowadays.

pixelformula / glamour /

 

[Drusilla_]

^nah, at least YSL shows better cuts and finishing than that. Those fabrics look cheap and the hearts on the lapels look wobby and unintentionally so, rumoured to be a result of not giving the atelier enough time to actually do much.

Still better than some of what we've seen on runways in recent years, but rightfully slated at the time for taking up show space on the same schedule as the likes of Galliano's Dior, Tisci's Givenchy, JPG, Owens and McQueen (in - though we didn't know it at the time - the last show he presented himself).