“Givenchy’s Matthew M. Williams put on a very big show on Sunday night … But in the words of American sage Gertrude Stein, there was no there there,” writes CathyHoryn
From left to right: Schiaparelli, Lanvin, Givenchy. Photo: Courtesy of Schiaparelli, Lanvin, Givenchy Givenchy’s Matthew M. Williams put on a very big show on Sunday night, 75 looks whirring around a purpose-built, celestial bright oval ring inside La Defense Arena, on the outskirts of Paris. But in the words of American sage Gertrude Stein, there was no there there.
But they don’t make for an original point of view. To quote another great American, Yogi Berra, Williams’s collection gave me “déjà vu all over again.” There were styles, or elements of styles, that reminded me of the work of Nicolas Ghesquière , Azzedine Alaïa , and the artist and fashion designer Sterling Ruby . I thought in Williams’s thigh-high boots with a clog-meets-sneaker base that I detected the molded, action-figure shapes of Rick Owens.
Williams obviously likes contrasts and complexity, but it was generally to no purpose — except, perhaps, to make graphic, a bizarro statement on Instagram. Much of the overloaded feeling may be a result the fact that Williams collaborated on the collection with the prominent American artist Josh Smith. Figurative and abstract imagery on jackets, pants, and T-shirts looked like his work, and the result offered a nice, neurotic jolt of color.
Schiaparelli. Photo: Courtesy of Schiaparelli Schiaparelli is all charm and well-handled kitsch, thanks to the talented Daniel Roseberry, its creative director since April 2019. “You can go from zero to 100 in this collection,” Roseberry said the other day in the company’s Place Vendôme office, as we stood near a white skirt striped in black patent leather, embellished at the waist with a gold chain that linked two surreal-looking human ears.
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