Yesterday's post focused on two collections – Valentino and Undercover's – showcased during Paris Fashion Week that had a special connection between them and in a way also explored the theme of the double. Yet, also Raf Simons was facing dichotomies of his own on his runway, held on Wednesday in Paris at the Shangri-La Hotel.
His show – symbolically entitled "Diptych" – was indeed divided in two parts and included a musical intermission as well.
The first section of the show featured a series of coats in different shapes and silhouettes – from oversized and wide in David Byrne's style to elongated and dramatically long.
Some of the coats and jackets were covered with keychain-like embellishments of the sort that may be favoured by teenagers to personalise an item, such as flowers and cherries; others were decorated with Simons' trademark patches, reproducing stills from David Lynch's films (Simons is a well-known fan) such as "Blue Velvet" and "Wild at Heart".
There was also another connection with Lynch as an image of Laura Dern crying in "Blue Velvet" was featured on the runway invitation (but she was also sitting in the front row).
This first section of the show mainly featured sensible Autumnal shades comprising black, white, navy blue and camel.
One coat also featured small nonsensical messages on the shoulder area, but more messages appeared on the knee patches of white cotton trousers – they were about "nomophobia" (fear of being without one's mobile phone), "xanthophobia" (fear of the colour yellow), and heroes and losers.
Most models wore hats that looked like hybrids between a jockey hat and a First World War helmet, but accessories also included leopard print gloves and steel cap shoes or footwear personalised with small decorative touches such as a key.
Then followed a musical intermission courtesy of Belgian post-punk band Whispering Sons; the band also played live in the second part of the show that looked very similar to the first, but with a twist.
The floor-length coats this time (again with charms attached) came in pastel nuances or in rich and lively shades – from bright orange and yellow to fuchsia and aqua green – colours that pointed at Haute Couture. Further flashes of colours were added via stockings tied casually around the waist.
The focus of the collection was on the architecture of a menswear staple – the coat – and the possibility of mutating and transforming it by altering its silhouette via several tailoring tricks.
The collection presented a contrast between tailored classical and elegant moods and more modern colours, motifs and silhouettes to offer something for all sorts of consumers, from more conservative and older ones to younger generations willing to leave behind streetwear and try tailoring with a twist.
Yet, behind the double fashion message, there may have been a hint at events in Simons' life that generated very personal dichotomies: praised by the critics for his collections at Calvin Klein, Simons eventually departed the brand in December (though the designer explained the fashion media that the collection was designed before he left).
What's in store for Simons remains a mystery for the time being: there was a sort of balance in this A/W 19 collection between different moods, but you seriously wonder if the designer will accept in the near future further roles as Creative Director of a famous house or brand after his experiences at Dior and Calvin Klein.
Maybe this could be the right time for Simons to concentrate on his own brand and venture on more interior design projects. The possibilities for someone like him are endless, and since, despite brands tell us all is well in fashion, the industry is living a moment of confusion (especially when it comes to seasons, men and womenswear, fashion shows and retailing…), he may as well focus on something slightly different from mere clothes and accessories (film costumes – for Lynch? – may be an option at some stage…) where he may find an entirely new life direction.
