Mask the telltale sound of latex by turning up the volume of the soundtrack and you’d be forgiven for thinking Arthur Avellano has abandoned his signature material at his spring show.
Take matte tube “jeans” or a hooded robe that looked like it was made of astrakhan. Except for the padded lining of a jacket, “it’s still all latex, all the time,” she said backstage before the show. “It’s about giving the impression that it’s something completely different.”
Since winning the Pierre Bergé Prize at ANDAM 2023 last June, the Parisian designer has been working at full speed.
Not only is she in the award’s mentoring program as she continues to produce latex and silicone pieces for prominent French houses, but she has also created costumes for a ballet currently being performed at the Palais Garnier opera house.
In the midst of all that, he developed the collection presented on the last day of Paris Fashion Week.
He went further with metallics, developing platinum and gold tones, and also introduced a new version of the snakeskin effect seen last season: “it’s a raised pattern rather than a relief shape and I like that better.” “, he added, in addition to those imitation textile options. He had shoes on too, with custom latex-coated Ugg sneakers.
So if there was an air of familiarity to these sci-fi space opera silhouettes with dramatic trains and opulent hoods, marching between concrete columns at the Institut du Monde Arabe, it was intentional.
“I prefer to perfect the universe I already have, rather than creating a new one for each season,” he said.
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