Anrealage AW16 If you had to sum up the Anrealage AW16 show in one word, it would have to be “grey”. The name of the collection was “Noise”, which the music certainly reinforced. It was not as much music as it was noise, but it felt somewhat fitting to the collection of exclusively grey, white and black clothes. It all looked very alike, nothing in particular stood out. This might have been on purpose, invoking a sense of TV static, but it did not make for an interesting show. The scene was set up with a large mesh cube in the middle, reminiscent of a kind of futuristic boxing ring, in which the models walked in a particular pattern, giving a good look of the clothes from all angles, in motion and still, for all guests of the show. It did drag out a bit, and the choreography was not always as tight as it could have been, but it was a novel and interesting way of showing of the clothes. The clothes themselves were unfortunately not very interesting. None of the grey suits and grey dresses stood out, and were it not for the pictures we took, I would have a hard time describing any outfit. It was like a big, grey mass of fabric.
Saturday, 28 May 2016
Anne Sofie Madsen AW16 Located in an underground parking garage, the AW16 show was in one of the more unconventional locations of the season. The “scene” spanned 3 floors, and the very mundane scenery stood in stark contrast to the feminine and extravagant clothes. The clothes got much of their femininity and extravagance from the shapes and silhouettes, as brown was the main colour used. As in previous seasons, the collection had a clear deconstructive lean, with classic pieces being torn apart and put back together again in ways that gave them a flowey look. This was especially apparent in the long trenchcoat with the fur collar. The way the model walked only exaggerated the look, and was the most memorable outfit of the show.
Rick Owens AW16 After the initial surprise of even gaining entrance to the show at the basement of the Palais de Tokyo, we were greeted by a massive underground concrete room, with floors reminiscent of a skateboard park, and pillars with tubes running up and down, clearly designed with function over form. The show itself was unusually colourful for Rick Owens. There was barely any black (compared to earlier seasons at least (although I think the amount of black in Rick Owens’ collections is usually exaggerated)) and several outfits consisted almost entirely of garments in orange and a blueish shade of green. Despite this increased focus on colours, the silhouettes still demanded attention. Thick fabric was draped in, what could almost look like, random ways, but the end result was very interesting. All in all a very successful show.