As Paris Fashion Week attendees took their seats they found a single red rose waiting for them, a hint at what a partnership between Van Noten and master of 1980s drama Lacroix – whose own house closed in 2009 – might bring. And then came the colour, ornate embellishment and volume that Lacroix built his name on – the trademarks he subsequently transferred to stage costumes after side-stepping from the industry. From the bold fuchsia and orange palette to the feathers, leopard and zebra print, Lacroix’s extravagant eveningwear was fused with Van Noten’s easy silhouettes for a collection that bore all the tropes of the 1980s, but felt contemporary.
“Today’s world and the political, economical and environmental climate can be divisive exclusionary and drab, meagre in a way,” read a message from Van Noten shared online. “This left me thirsting for all that would be maximalist, optimistic, flamboyant, inclusive and enchantingly extravagant. There is a place for powerful opulence, exaggeration and fun and I need that energy.”
He went on to share that his research into the whimsical Paris couture scene in the 1980s and 1990s – a period that was marked by Lacroix’s artistic vision – was how he formed a personal relationship with the designer. “It became a natural wish that I would love to work with him on this collection,” he continued. “That wish came true.” As the two creatives took a bow next to a model wearing a fabulous confection sprouting luscious cream plumage, there was no doubt they were flying high.
He went on to share that his research into the whimsical Paris couture scene in the 1980s and 1990s – a period that was marked by Lacroix’s artistic vision – was how he formed a personal relationship with the designer. “It became a natural wish that I would love to work with him on this collection,” he continued. “That wish came true.” As the two creatives took a bow next to a model wearing a fabulous confection sprouting luscious cream plumage, there was no doubt they were flying high.
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