An exploration of the fake in nature, in a direct reference to Anderson’s last show. A focus on line, color, form. At the centre of the show setting there is a giant anthurium flower, that is readapted as clothing throughout the show: a product of nature that seems to be a design element, and is used as such. The creative director is pushing boundaries again, through a dynamic experimentation between shapes, reducing, tightening and redesigning the silhouette. Minidresses are very short: miniature style, in enameled metal painted with flowers or compact, twisted knit. The actress Taylor Russell (protagonist of the acclaimed “Bones and all” by Luca Guadagnino) opens the show wearing a strapless black velvet dress, recalling the silhouette of the Baroque period via the 1920s robe de style. There is another quartet of strange dresses whose fronts were swagged and suspended from triangular wire peaks that reached up toward the face. Even leather and hunting jackets are petit in size, almost to look like miniatures.
The normality of T-shirts, shirts and chinos is distorted, padded, stretched and reproportioned. The concept of draping is crystallized at its apex. Maxi shirt and sweatshirt dresses are the symbol of the brand’s know-how with leather. Light plays with different textures: absorbed by velvet and waxed cotton, reflected by enamel and leather. Occasionally, a few pixelated details surface, defined by Anderson as “…odd illusion that suddenly breaks the pattern”. Stiletto-heeled pumps, ballet flats,
“rubber décolletés,” pumps with deflated balloon heels. The bags have a precise shape designed ad hoc; the Puffer Goya continues its play on volume, and the new Paseo has an elongated, streamlined silhouette. Braided silver bracelets add a touch of sophistication to a collection that is nothing less than a style statement, accentuated by the creative act of reducing shapes.
