Two large cawing originals organized subtly dramatic shows on Monday in Paris; Iris van Herpen with his latest Techno Sturm und Chic and Rahul Mishra with suffering style of the 21st century.
Iris van Herpen: Urban Ornithology
Iris Van Herpen is an artist who wore clothes to make unexpected visual statements already often very beautiful. Portability is not a word that exists in its lexicon. Although words like Wonder Wonder, Wicked and Wow Factor certainly do it.
Add impressive and phantasmagoric this season, where in the show at the Funky Ell Montmartre theater he conjured a complete aviary of creatures Van Herpen.
Starting the action with a performance: a dancer in gigantic tulle synthetic wings, spinning in a column, like a column of feashed pyramidal lazar flicked in the false feathers.
The first adequate model appeared with a pale blue wool cellosia cocktail dress, finished with Aegean blue veil. Like most looks, anchored by notable pumps, built at an angle of 35 degrees, better to fit into a Masai -worthy metal wire frame.
Giant or cocoon dresses followed made in Technological Nylons of PANAL, pure fantasy garments, where the models used both clothing, and inhabited. Before the gaze entered complete abstraction, the John Chamberlin-Car-Crash style, with huge tulle clouds.
Which leads to the great end of iris and applauded intensely to Bow, more enthusiastic in the front row by Jean-Paul Gaultier.
The last thin statement of Fine Arts made of fabrics, and the last reminder of why Iris Van Herpen had his own retrospective in the Louvre. He is not bad at a 41 -year -old man.
Rahul Mishra: seven stages of love
The best modern in India, Rahul Mishra, titled his latest “Bevering Love” collection, and clothes became an ingenious visual expression of seven stages of love in an outstanding show.
Starting with the first moment of attraction, symbolized by golden metal gold cloud dresses that open the show. Before becoming falling in love, seen in some excellent columns and cocktails, made with exotic flowers and embroidery and embroidery. In total, a powerful reminder that Rahul is still a creator very much in control of his workshop.
And including devotion, a completely suitable feeling, considering the location of the show. He was staged in the middle of the print of the thirteenth century Collège des Bernardins of the thirteenth century, whose founder St. Benedict of Nursia postulated a doctrine of balance, moderation and reasonableness.
On the other hand, in the hands of Rahul, the devotion was expressed in a beautiful sculptural white cocktail, adorned with pearl jackets or in a degraded dress that became embroidered tulle in carnations and lotos.
However, its boldest appearance was a quintet of dresses and gold suits in the style Gustav Klimt. They represented the obsession.
Everyone said a powerful statement, even if a small edition of a snack of outfits from which the nine -inch wide fabrics excelled at the end of the metal products would not have gone badly. One of these was even carried out in the final section of the program, the final stage of the concept of love of Sufism as a seven -stage adventure that inevitably ends in death.
Interpreted by Mishra as “a quiet culmination”. Black black jacquard dresses inspired by death embroidered with the face of one's true love, to a last look in the form of a black heart. A gloomy outcome to a brave show.
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