Guillaume Henry has the goodwill of the style group. He gave Carven, which was a defunct couture home when he arrived in 2009, a worldwide profile and a particular look. Ladies responded to Carven’s gamine sensibility, and the model grew rapidly, opening a retailer in New York. Tonight’s present was Henry’s second for Nina Ricci, however he hasn’t but discovered his footing. It’s a problem extra of tone than execution, although each play an element. His backstage temper board was pinned with footage of Romy Schneider within the 1971 movie Max et les Ferrailleurs, and pictures of ’90s fashions like Kate Moss, Nadja Auermann, and Kristen McMenamy. “I’d love males to fall in love with [the Nina Ricci woman],” he stated.

That’s not a nasty purpose, however this was provocation with out seduction, a indisputable fact that got here all the way down to the stiffness of a few of his supplies, the sheerness of others, and a usually slack, away-from-the-body silhouette. The present’s patent ostrich pores and skin had a shiny, nearly lurid sheen, nevertheless it was about as unyielding as supplies get. The black-and-white cowhide coat and apron-dress weren’t rather more forgiving. This can little doubt make us sound each American and prudish: Contemplating Nina Ricci is a model traditionally identified for its lingerie, it could’ve been good to see a bra beneath Henry’s sheer organza blousons. However his see-through wrap skirts have been a good larger miss. One of the best items right here have been the micro-plissé shifts which enhanced the fashions’ pure hourglass shapes. Henry ought to preserve them in thoughts when he begins engaged on his subsequent assortment.

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