A few weeks ago, I was forced to crutches after fracturing my femur's neck while running a half marathon with Image fashion director in general, Keyla Márquez. This happened just before the Paris Fashion Week for the spring/summer summer season, which we both had plans to attend, and I stayed with two options: to resign a summer of Frida Kahlo, where I worked, I would make art and take visitors while I was injured from the bed, or go to Paris in the crutches and wait for the best. I chose the last one, because I am crazy.
The idea of the crutches in the cobbled streets was comic, ridiculous and potentially dangerous. The idea of crutches during fashion week was criminal. While I was limited by the city, chasing the transport service of the Fashion Week until the next show, or glacial I made two sections of marble stairs in an opera house to see the lovely presentation of the Bode without causing more damage, the hollow metal crutches smeared against the bolts in my leather belt, or made it impossible to transport my belongings in anything, but a vintage moulet Multice of shit. Keyla called this version of me “Extreme Sports Juju”.
The crutches were in charge and the center in each experience last week, the first thing I thought, the first thing people noticed. They were a discomfort and an obstacle, yes, but also a phrase and a break. Both French people and fashion looked at me and: “Girl, are you okay?“ No, guys, it wasn't good. But the crutches were, for better or worse, my accessory this season, which also realized the accessories on the track. A seemingly small element despite being considered extra can completely transform how, and in my case Yeah – You move around the world. I was obsessed, Baader-Meinhof-Edit, and in Paris last week where I looked I saw first accessories and everything else in second place. Was the practical combination, purely aesthetic, the absurd combination of all.
424
In 424's Runway Show, the audience accessories challenged the weather. Although it was about 90 degrees in the Monnaie in Paris, the attendees were presented in skins and leather plates on jeans. The stylist of the Marquise Miller wore intrecciata sunglasses veneta to protect from the sun hits. An immaculately accessorized Fashion Boi From Toronto, who wore buffers and gauze rings on each finger he accused me of pretending my injury. The creative director of the cult brand, Guillermo Andrade, framed the collection around the best accessory of all: the car. More specifically, each generation of the Porsche 911.
The show began with a line of Porsches that are strangled in the museum's courtyard, with a group of models, including the actor, Will Poulter and the son of Solange, Julez Smith, leaving the cars (the grandmother of Icez, Mrs. Tina Knowles, was at the audience that supported her grandson). However, for Andrade, the car is more than an accessory: it is a way of life. “When I'm at home I spent a lot of time in my car,” Andrade told me after the show. “The car is my first experience of independence, of being free.” The last look, one of my favorites, showed an older model with dazzling Porsche keys in a carabin clip attached to thin leather pants.
Louis Vuitton
The first day of PFW was also Louis Vuitton Men's Day, the final chief of accessories. The show was a brilliant show, as expected from the mandate of Pharrell Williams in the house. A choir of screaming fans became a soundtrack of the moments before the show, announcing the arrival of each row of sitting celebrities, including Beyoncé and Jay-Z. This season's collection was inspired by modern Indian sartarialism, says Louis Vuitton. Held at the Pompidou Center, the set of the program was created in collaboration with Studio Mumbai, an Indian architecture firm, and imagined as a game of natural snakes and stairs. The show had seats in the style of the stadium, and sitting in the third step forward, I questioned whether this was going to be: the time I fell on my butt in front of Bradley Cooper and Pusha T. But fortunately, I survived enough to see new versions of the fast P9 bag in painted stripes and golden edge, and a job bag with steam cervicero in a deep blue patent.
(Louis Vuitton)
There were the Trunks of Louis Vuitton, of course, which were shot by equipment models inspired by work clothes on the track. Some versions were embedded with jewelry in Paisley patterns, assuming an old sensation, others were clear and strong pink. However, in what I cannot stop thinking is the comfortable yoga bag Louis Vuitton in a violet tone, designed with a yoga mat of the same color. Seen in a model with green loads, swollen flip flops (another note accessory this season) and a baby blue bomber, the bag was shown on board canvas with leather ornaments.
Issey Miyake
(Frederique Dumoulin-Bonnet)
Paris was hot. And most of what I used was in conversation with heat and my crutches: flat shoes, bags without problems, anything that was with aluminum and rubber. Physically and spiritually I could not use anything that felt intrusive or unnatural. Issey Miyake's man understands functionality, but also becomes tribal. Dress for that deep and internal part of yourself that yearns to connect with your own history and body. This season's Issey Miyake show felt like the club. It started and ended with a dance dance performance, and the accessories felt organic enough as strangers for a dance floor, from a perfect leather belt bag to sunglasses that moved with multiple colored lenses to motorcycle caps in soft tissue.
Dries van Notten
(Gorunway) (Ulrich Knoblauch)
The next was Julian Klausner's debut for Dries Van Noten Men. The capricious and emotional accessories in this show changed my neural paths again. There was satin Boxing boots in strong and bongaro pink. Floral Patchwork Sarongs designed on suit pants. Marine shell necklaces of sustainable origin that seemed talismans. Large bowling bags in combinations of unlikely colors such as salmon and coal, brown and black, dusty pink and camel, taupe and olive. Cumberbunds even. The accessories in this collection lived somewhere in the spectrum between sophisticated and energetic, inspired by a morning on the beach after being awake all night at a party.
Rick Owens
A girl never forgets her first Rick Owens track. The SS26 male show, called “temple”, was in a conversation with Owens' retrospective in the Palais Galliera, “temple of love”, which refers to its early years in Los Angeles as the genesis of their work. “The exhibition tracks the search for glamor and the deafness I was looking for in Hollywood Boulevard and, finally, unlikely, ending in a Paris Museum,” writes Owens in the show. For the parade, the models descended from a temple built with scaffolding before immersing themselves in the source in Palais de Tokyo.
Such part of Rick's experience is the crowd, a band of rare fashion dressed in kiss boots, and standing among them in crutches he felt natural in this context. Maybe even something that someone would do on the purpose of a Rick program only for vibrations. His shoes designs have been inspired by medical support devices for years, continuing this season with sandals inspired by splint, so I mean, why not? It was here that I saw another fashion victim in crutches. We walked to each other already half, playing crutches like a fist before he claimed me as his “sister.”
(Owenscorp)
Other outstanding accessories were the sunglasses of shield envelopes, and the extra carbinor clips in harnesses that helped raise the models to the temple for the show of the show of an end.
Dior
The next day, Keyla and I saw the debut of Dior by Jonathan Anderson through the live broadcast from our Airbnb while I raised my leg, and even through the screen, the accessories shouted us. They were the details in Dior that spoke a lot: subtle references of pop culture, the number of folds in a pair of giant loads, the messy style of a tie. The appearance fell among the 18th -century French noble child and California pants. The wrestling sneakers that are used with the green charges and the crossed messenger bag “Dracula” yellow. Voluptuous arc ties and antioscancies used with fisherman sandals and socks. At some point I just shout through the room: “Keyla, the backpacks!”
Kiko Kostadinov
Kiko Kostadinov's show was our last stop of the season before flying back to Los Angeles almost six days in Fashion Week, my crutches began to feel like an extension of himself. Even so, reaching the second floor of a parking lot for the show was a precarious mission. However, the collection, which covered work clothes, lounge clothes and night clothes, inspired by day at night in a city of the fictitious island, was worth it. For the brand, the centerpiece of the collection was the materials: sarga, mesh, kasuri cotton, leather, jacquard, wool. My approach was in the smallest things. Socks with sandals. Tabi Asics. An ultra -thin belt with silver eyes that was also a waist bag. A sky blue fabric belt chain. Idiosyncratic charms in belt loops and suit jacket pockets. The collection talked about the futuristic-hyppie sensibilities that live unwaveringly within me, leftover of a past life. And that is what the accessories have the opportunity to do: communicate where it is exactly at this time or remind you where it was. They have the potential to be more personal than anything else.
(Courtesy of Kiko Kostadinov)
When I gathered my crutches and called a last Uber to the airport, I knew what my accessory said about me. It was the same reason that I probably ended in them first, the same reason in France for fashion week with a broken femur: I don't know when to give up.
Main art photos: “Display with undulating pattern”, 1970, iwate museum of art; Frederique Dumoulin-Bonnet; Ulrich Knoblauch; Courtesy of Kiko Kostadinov; Owenscorp; Getty images.
