The week dedicated to Haute Couture is always divided between Maisons that present dresses resembling works of art, making unique pieces inaccessible to everyday life, and others that, like Fendi, propose for Spring-Summer 23 dresses with a more classic cut, connected to the techniques of craftsmanship and to the classic concept of elegance. In fact, Kim Jones expresses a desire to create a collection that leans on the study of workmanship and fine fabrics, while at the same time responding to the needs of customers, who desire human and accessible couture clothes. The result is a celebration of the ateliers that make the garments, of the intense labor and emotional commitment felt by those who produce them and those who wear them in the future. The collection consists of a wide selection of evening dressed that keep traditions alive by presenting different shapes and a deep study of details in a sophisticated and contemporary version. The flou focuses on the form of the dress, but the idea of the whole is also taken up in a new sense, with a notion of intentional flow and flexibility replacing impenetrability of the whole collection.
“This season, I wanted to concentrate on the techniques and craft of couture, with the lightness, fluidity and attitude of today. It’s a celebration of the ateliers and the craftspeople who realise these garments, the intense work and emotional commitment to each piece that exists for both maker and wearer.
Kim Jones for the realization of the collection presents two different parts: the first includes long dresses draped and held with large snap-hooks taken directly from the world of climbing and revisited in a refined key: studded with small crystals, however, they keep their original shape that emphasizes their provenance and their choice to veer Haute Couture towards the contemporary. A second part of dresses, on the other hand, is geared toward telling the story of the mutation of lingerie into entire evening proposals, creating a romantic and sensual atmosphere that never meets the vulgar. Kim Jones began the realization precisely by starting with a classic piece that profoundly marked the 90s, also treasuring the history of costume, and also referring to the petticoats of the 900s. The lingerie for the coming season is revisited, re-proposed to the public in an ethereal, almost dreamy version: thin straps, lace works that plays on the see-through effect and deep necklines on the back are the characteristics of the femme fatale designed by Kim Jones. The colors are light and delicate, declined in a hue that makes them cold, giving the models a rigid character, almost making them appear alienated from the earthly world. Lace ruffles, sequins, breast silhouettes reminiscent of bodice silhouettes, and draping make the silhouettes sweet and soft. The romanticism of the dresses is accompanied by accessories that present strong details: the futuristic-looking mini-bags have handles reminiscent of a chain, while the clasps take up the snap hook used on the garments, this time, however, keeping it raw in its original material; the earrings are flashy, covered with crystals, and the long gloves seem to be made entirely of steel, emphasizing the concept of cold and otherworldly garments, echoed also in the heel of the shoes.
“The collection is an inner world made into an external one – both figuratively and literally – with a sense of underwear becoming eveningwear.”
A skilled “spezzatura” of done and undone permeates all: an imperfection aspires to join a more human perfection. Kim Jones realizes a clothing that is not just about being looked at, but about being lived in. Drapes and bindings on the body, together with hand ruffling motifs, give a sculptural sense, and the very useful snap-hook are transformed into details of extreme luxury. The designer has made Haute Couture accessible, transforming it into elegant evening gowns that blend organically with contemporary details. The goal is for his clothes to be experienced, and not only looked at.
