Show 1, Haider Ackermann at Tom Ford
The walls imitate steamed panes of glass and the nausea of powdery perfume when wet. The pulled hair elongates the head and the iliums lean in. The space between these extremities sinuates the body into an eglantine, yielding line, atilt. More men should wear silk robes with leather gloves.
The white dress was the most beautiful piece this season, absolute, firm, concrete.
White flower appliques are tender in a green carnation, de profundis manner. Green eyelids above a black silk skirt hang on a weak leather strap, Gucci '98 aired. More women should wear leather gloves with anything.
What Ackermann does well is sound. His shows commence with a lulled line that lingers side by side to the clothes. By 3/4 of the show, the track becomes verbose, the words, albeit divided at uncomfortable intervals, ever increase in amplitude. But then the soundtrack takes over, and one expects the eye to adapt to the difference, but the sedated gait still pursues, and nothing happens. The crescendo finds no climactic resolution which is what fuels the clothing in the end.
The embrace at the end between Ackermann and Ford held grace.
Show 2, Pieter Mulier at Alaia
I played an interview of Pieter Mulier where he mentioned that was it not for Raf Simons indicating the lean of his talents, he would have been an architect. And one can tell when seeing how well he integrates the body's natural scaffolding into the garment.
The show feels like being at the bounds of a white static body of water with interludes of liquid coating the cochlea. It contains the same air as Paul Delvaux ‘s La Ville Endormie, haunting for it is so orderly.
Look 1 reminds of the Egretta Ardesiaca when its umbraculum, the charcoal aureole, unfolds in sinuous predation as it steadies to lure fish found in lakes of, predominantly, soft water.
The heaviness of the drapes inclines to the thought of drowning, but the rhythmic, cerebral saunter of the body defies the assumed submission to gravity, and that unsettles.
The faces confined by tubular silk-jersey prophylactics and held by slouched spines are exquisite.
The body is left bare through many openings but the designed vulnerability is balanced by the tubular gravitas of the augmented iliums.
The tendons of the hands coming through the membrane of a sheer bodysuit lend the body sculptural sterility.
Show 3, Saint Laurent
Saint Laurent maintains Yves' heritage by referencing his muses. This show, however, inclined too boldly towards Loulou de la Falaise and too little towards Betty Catroux .
The pink quartz glass panels had the air of a Marylebone nail parlour that delivers prosecco after 3pm.
Nevertheless, the black gowns, thin black laced camisole tenderised by voluminous spherical skirts, were actually the best piece this season. The girls looked like walking teacups but maintained the most solemn air, and one has to love them for it.
Gwyneth Palthrow wearing Saint Laurent in the latest issue of Vanity Fair was resplendent.
Anthony Vaccarello did the most beautiful campaign of this past year using vignettes from In Search of Lost Time.
When one is asked about the text they like, it is an elegant occasion to offer text that endows them with the qualities that their interlocutor would like. Yves praised Proust the most, in whom it is said that he found his alter ego, and which proves sensitivity to that knowledge. Nevertheless, the one plighted by neuroticism would scarcely enhance that weakness unless it suited them. There is much humour in that way of being, and that humour was always latent in the soberness of line that Yves constructed. And to now see pink quartz panels upon that line, is wry.
A beige quartz perhaps, at the very least.
Show 4, Dries van Noten
A garment in a floral pattern will never be as sincere as the same garment made in black unless it is made by Dries van Noten. This is the house that does the most eloquent patterns.
Their slowly-ventilated, low-lit, silk-draped window display at Selfridges was sublime especially when walked by at night. It is sad it lasted so little.
Show 5, Armani
I am not their general audience but they gave me a biscuit in store which was kind. They do what they did in the 80s again which is good. The crewneck cashmere jumpers from men, navy and gray, are beautiful, beautiful flowers too.
There is no conclusion.
Read also
And We Come Back To The Same Question, Joseph Kosuth at Sprüth Magers
The Speculation About Grey, Jannis Kounellis at Sprovieri
All opinions listed that appeal to you are my sincere opinions too, and are indeed factual. All that do not, are satire.
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