Glenn Martins continues his experiences in building clothing between opulence and unusual glamor for his Y / Project brand, while Sébastien Meunier praises Ann Demeulemeester's poetry with a spiritual dimension this season. The first, a Flamand in Paris, and the second, a Parisian in the artistic direction of a house in Antwerp, illuminated Fashion Week on Thursday with a unique glow.
With the fall-winter 2019-20 collection, Glenn Martins, who won the 2017 Andam Award, once again gave loose rein to his bubbly inventiveness, not allowing himself boundaries. The themes developed in their earlier collections evolve, such as trompe l'oeil, pieces that divide or merge while new tracks are added. Like cages braided in faux leather, they can sculpt a silhouette with well-made coats and trapeze skirts.
The skin (also false) appears on the linings or grows on the sleeves of a chevron wool coat. Or, the whales create majestic volumes in evening dresses, like the long-sleeved dress worn by Sevdaliza, the Dutch-Iranian singer Sevda Alizadeh, who closed the parade.
The collection is ultra-dense with a myriad of findings: the suit with thin loops of corduroy, the boots of seven leagues more and more gigantic, the jackets composed as a jigsaw puzzle of velvet sides, thin and shiny chips, such as metal ribbons, etc.
"It's always an evolution with additions, we have a lot to say that one collection is not enough!" The key is to continue to have fun, blending opulence and skill, "says the creator behind the scenes who also gives great impetus to his accessories with original bags. incredibly carved jewelery.
The record is totally opposite Ann Demeulemeester, but no less interesting. The collection is structured around long dresses that glide with sensuality on the body. These clothes, which float slightly with the steps, are made of impalpable fabrics like silk, satin or viscose in intense tones (red, pink, golden yellow, purple).
Other tunics, black mesh, reveal the body. Other models in damask fabrics or velvet vests fall to the feet, like an infinity beige wool coat.
There is an almost spiritual sensation between the long tunics, like the Indian gurus, or the dark coats curved by a rope that makes one think of the monks' cassocks. "I emphasized this idea of purity proper to Ann Demeulemeester. There is a real relationship to beauty, perfection and something more spiritual," says Sebastien Meunier, who has taken over the reins of the brand since its founder's departure in 2013.
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