Frederic Sanchez

Moncler Genius Présentation fall winter 2018 – 19. Composition originale pour la vidéo.

Carven women’s fall winter 2018-19

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Roberto Cavalli women’s fall winter 2018-19

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Anna Sui women’s fall winter 2018-19

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Ann Demeulemeester women’s fall winter 2018-19

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Comme des Garçons women’s fall winter 2018-19

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Hermès women’s fall winter 2018-19

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Jil Sander women’s fall winter 2018-19

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Marine Serre women’s fall winter 2018-19

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Marni women’s fall winter 2018-19

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Miu Miu fall winter 2018-19

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Nina Ricci fall winter 2018-19

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Prada men’s and women’s fall winter 2018-19

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Sonia Rykiel fall winter 2018-19

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Moncler Genius Presentation fall winter 2018-19 – Pierpaolo Piccioli

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Moncler Genius Presentation fall winter 2018-19 – Moncler 1952

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Moncler Genius Presentation fall winter 2018-19 – Grenoble by Sandro Mandrino

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Moncler Genius Presentation fall winter 2018-19 – Simone Rocha

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Moncler Genius Presentation fall winter 2018-19 – Craig Green

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Moncler Genius Presentation fall winter 2018-19 – General area & Guests entrance

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ERDEM fall winter 2018-19

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Mary Katrantzou fall winter 2018-19

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Comme des Garçons Homme Plus fall winter 2018-19

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Dior Homme fall winter 2018-19

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Ann Demeulemeester men’s fall winter 2018-19

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Marni men’s fall winter 2018-19

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MSGM men’s fall winter 2018-19

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Prada men’s fall winter 2018-19

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Craig Green fall winter 2018-19

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Miu Miu fall winter 2018-2019 fashion show – Composition originale pour la video.

Le Monde – 7 mars 2018

Paris Fashion Week, c’est fini !

En clôture de la fashion week parisienne, trois grandes maisons, Chanel, Miu Miu et Louis Vuitton, ont tonifié une saison de défilés un peu terne.

Le marathon des fashion weeks vient de prendre fin à Paris, dernière étape d’une saison qui ressemble davantage à un moment de transition qu’à un grand cru. Mardi 6 mars, pour la dernière journée, trois des plus grands noms de l’industrie se sont partagé la conclusion de débats vestimentaires. Ceux-ci ont beaucoup tourné autour de la féminité, du féminisme et du droit des femmes. Ces trois shows sont les trois derniers points de vue sur le sujet de la saison.

Chanel.
Chez Chanel, Karl Lagerfeld fait peu de discours. Sa collection parle pour lui, célèbre un raffinement moderne, une idée de la féminité sophistiquée et libre dans un décor atmosphérique qui rappelle un roman d’Ivan Tourgueniev. L’odeur des feuilles mortes accueille les invités dans une forêt légèrement brumeuse où ne manquent que les croassements des corneilles. Les longs manteaux droits en tweed aux épaules ajustées, les vestes à la taille appuyée et à basques qui se terminent en pointes, les cols montants « à la Karl » (le couturier porte les mêmes), les grands pantalons en cuir matelassé sous des vestes amples à quatre poches signent une allure souple, confortable et fidèle aux codes Chanel.

Du manteau à capuche et imprimé feuilles aux longues jupes or éteint, tout est enveloppant mais sans lourdeur. Les effets de volume, millionième variation sur les lignes des tailleurs Chanel traditionnels, sont particulièrement réussis et servent d’ossature à toute la collection. Longue jupe corolle, maxi-veste trapèze, petites épaules légèrement aiguës, tout est millimétré sans jamais être contraignant. Ces femmes qui avancent d’un bon pas dans ce bois clair incarnent une vision positive et décidée de la féminité. Leur vestiaire très luxe et facile à porter est un vecteur de liberté d’expression subtile et pas un exercice de mode qui les contraindrait à rentrer dans un moule.

Miu Miu.
Miuccia Prada a formé chez Miu Miu un club de « bad girls » réjouissantes. Entre les murs du Conseil économique et social, l’austérité architecturale est contrebalancée par de grands panneaux suspendus comme des fanions, imprimés de dessins mi-lettrines mi-portraits de femmes. Celles qui arrivent sur le podium sur une bande-son rock parfaitement calibrée par Frédéric Sanchez évoquent à la fois la vamp rockabilly Wanda Woodward du film Cry-Baby et les princesses punk rock à la Poison Ivy, la guitariste des Cramps. Ajoutez un peu d’Amy Winehouse et de style années 1980, et c’est parti pour une parade de filles piquantes mais sympathiques en chaussettes mohair et talons vernis.

Des pantalons et blousons en jean neige aux imperméables froncés de cuir de couleur en passant par les tweeds « sixties » et les robes à fleurs près du corps, tout est porté par des mannequins aux cheveux crêpés et aux silhouettes globalement plus pulpeuses que la moyenne des podiums. On a retrouvé la femme Miu Miu fraîche et fun, nourrie de culture pop, qui avait disparu la saison dernière.

Louis Vuitton.
Louis Vuitton présentait sa collection dans la cour Lefuel du Louvre, habituellement inaccessible au public et recouverte pour l’occasion d’un sol façon vaisseau spatial. Le lieu a certes du cachet, mais présente aussi des inconvénients : il est très exigu, les trop nombreux invités ont du mal à trouver leur place, surtout que le parterre de célébrités (Michelle Williams, Noomi Rapace, etc.) en prend beaucoup.

La collection, elle, marque un retour de Nicolas Ghesquière à des formes plus simples, un glissement stylistique vers une silhouette de néobourgeoise qui pourrait beaucoup plaire à Brigitte Macron, très souvent habillée par le designer. Ses vestes brodées de métallerie or, ses gilets bicolores boutonnés sur une robe et ses effets monochromes évoquent un classicisme auquel on n’était guère habitué. Les blouses façon sweat-shirts en patchworks de matières et les hauts corsetés qui mêlent motifs sixties et soie argent renvoient aux goûts plus expérimentaux du créateur, ceux qui l’ont fait connaître quand il officiait chez Balenciaga. La prochaine saison en dira plus sur cette nouvelle femme Vuitton.

Jil Sander women’s fall winter 2018 – 19 fashion show. Composition originale pour la vidéo.

Sonia Rykiel Paris fall winter 2018-2019 fashion show – Composition originale pour la video.

Hermès Women’s fall winter 2018-2019 fashion show – Composition originale pour la video.

M le magazine du Monde – Mars 2018

Carven Women’s fall winter 2018-2019 fashion show – Composition originale pour la video.

Roberto Cavalli Women’s fall winter 2018-2019 fashion show – Composition originale pour la video

Missoni Women’s fall winter 2018-2019 fashion show – Composition originale pour la video

Prada Women’s fall winter 2018-2019 fashion show – Composition originale pour la video

Business Of Fashion – 4 mars 2018

Comme des Garçons’ Celebration of Artificiality

Rei Kawakubo sticks her finger in the wind and nails the moment, demonstrating the enduring outsider status of camp.

BY TIM BLANKS

PARIS, France — Something felt very different at the Comme des Garçons show on Saturday.​ ​Before we’d even slipped through the red curtains that swathed the entrance, Adrian Joffe, Rei Kawakubo’s husband, had said the key word of the new collection was CAMP. As in the joyous celebration of artificiality that Susan Sontag nailed in her sensational 1964 essay “Notes on ‘Camp’”. Joffe added that Kawakubo wanted a theatre as the venue for her new show. Curtains, too. Inside, there was more red velvet, with two huge theatrical klieg lights suspended above the catwalk.

So that was before the show. Afterwards, Kawakubo greeted guests with a warm handshake and a “Thank you for coming.” No longer the inscrutable sphinx. Instead, she said, “I wanted people to be happy.” They were. Deliriously so.

What happened in between was one of those intermittently prescient situations where Rei Kawakubo sticks her finger in the wind and nails the moment. Going back to Sontag for an instant, she wrote in 1964, “Camp is the consistently aesthetic experience of the world. It incarnates the victory of ‘style’ over ‘content’, ‘aesthetics’ over ‘morality’, of irony over tragedy.” What Kawakubo extracted from Sontag’s words was a feeling that camp could embody an enduringly rebellious spirit, in defiance of hidebound orthodoxy. So her collection was exactly the joyous celebration of artificiality that Sontag wrote of.

The music was Nino Rota’s soundtrack for Federico Fellini’s film La Strada, detailing the tragic travails of a travelling circus. Then it was the operatic drama of Profokiev’s Romeo and Juliet. Emotional, big, in other words. And the bigness carried over into the clothes: massed petticoats, polka-dotted lumps and bumps, rolls of fabric making huge rosettes, a glittering red showgirl outfit dissected and mounted like a trophy on a red tulle foundation, a big fairytale STAR, and a huge mille-feuille of fabric which brought to mind the fairytale of the princess and the pea. Articulated pieces moved like tectonic plates as the models walked. Theatrical sumptuousness prevailed.

At the end of the show, the models held hands as they lined up along the stage, like a cast taking a bow while the audience clapped themselves senseless. That reaction vindicated Kawakubo in her conviction that Sontag was right about camp. If, as Rei believes, the original rebel yell of punk has lost its guts, camp prevails with its enduring outsider status. “It can express something deeper and can give birth to progress,” she said. Maybe that’s what we were looking at. There is no doubt that a spirit of aesthetic excess seems like an inspirational response to the dark, goatish machinations of male power-mongers.

Vogue UK – 1er Mars 2018

Carven women’s fall winter 2018 19

by ANDERS CHRISTIAN MADSEN

You could recap the Carven show in its soundtrack. Mixed by Frédéric Sanchez, whose love of a mainstream pop song in a fashion show can be a rare gift on day 23 of the gruelling show season, it had all the louche beats of a high-fashion score. But here and there, almost like she was bursting through a barrier, Rihanna’s voice came through loud and clear, in “Love the Way You Lie”. At Carven, Serge Ruffieux, who came from the hallowed haute couture halls of Christian Dior, is posed with the challenge of bringing those values to a mid-market customer. In his sophomore collection, much like that soundtrack, he created a silhouette that borrowed from artisanal codes but constructed it in humble materials. “When I start a collection I always start on the body. I try to find a new proportion; a new silhouette,” he said. “It’s grounded, versatile, uplifting. Versatile, because it’s important to me to mix raw fabrics with something refined.”

It was expressed most palpably in garments hybridising two familiar pieces, like a jacket half quilted and half plaid, structured to kick out at the back in a couture-like gesture. Or how about a mid-market tweed suit so sculpted it looked like it had been statuesquely cast on the body? This is a designer, who knows what he’s doing. Ruffieux understands the social media era’s peculiar balance between mainstream commerciality and the desire for one-of-a-kind things that bear the touch of a real human hand. It’s reflected in the limited edition streetwear kids queue up for outside cult brand stores, in personalised phone covers, or the countless videos from haute couture shows that make the rounds online. Beautifully made fashion is no longer the privilege of the few, and in his interpretation of an accessible and attainable brand like Carven, Ruffieux captures that mentality pretty effortlessly. “The message is real clothes for real women,” he said. “That’s very important to me.”

Business Of Fashion – 26 février 2018

Marni

A Plurality of Women at Marni

There is a fundamental naiveté in Francesco Risso’s approach, as well as an effort to impose order on chaos, like a kid making sense of the world.

BY TIM BLANKS

MILAN, Italy — “Elementary, my dear Watson,” said Sherlock Holmes as he unpicked a web of clues to solve another case. Francesco Risso loved the notion of building a collection the same way: clues, codes, signs, a solution. And, like Sherlock, he also described the process as elementary.

But that is the fundamental naiveté of Risso’s approach to Marni. On the one hand, there were the raw hems, the dangling threads and primitive top-stitching, the exaggerated proportions, the flagrant colour scheme (“women screaming with colour,” he said). Elementary. On the other, there was the effort to impose order on chaos, like a kid making sense of the world. We sat on tightly wrapped bales of bedding and clothes. “After the men’s show, I liked the idea of controlling the waste of stuff,” said Risso. Instead of the fur that Marni’s business was founded on, there was an impressive topcoat cut from the felt blankets removal men use for packing. Recycling, connecting with the natural world…he liked that idea too. “Nature brings us into primitivism,” he added. His models wore peacock feathers trailing dramatically from their ears.

It was the second time this week that Victor Frankenstein — the literary inspiration for anyone engaged in the act of roughly stitching new life together – reared his head. Alessandro Michele is engaged on a similar project at Gucci. Risso talked about a “Siamese union, » as in twins conjoined. The essence of the collection was that half-and-half: a coat that was half green python, half black leather, another that was industrial felting and hot pink wool. There were schizophrenic dresses that felt sophisticated on this side, turned inside out to lining on that. In one of those naïve leaps of inspiration that seem to be characteristic of Risso, he extended the idea of the Siamese into a whiskery cat motif for coats and jackets. Soundtrackist Frederic Sanchez complemented it with a recording of opera singers’ warm-up exercises. They apparently “miaow” over and over again. Weird and wonderful.

« If this was a movie, it would be called ‘The I, the We, The Army of Me,' » said Risso. We rocked back on our heels and thought about that for a moment. Fortunately, there were shownotes to clarify. “The individual and the collective. Being one and safety in numbers. A plurality of women…”

There was joy and fun in Risso’s Marni, but there was a message too.

Business Of Fashion- 25 février 2018

Jil Sander

Quiet Optimism at Jil Sander

By Tim Blanks

In their second show for Jil Sander, Lucie and Luke Meier projected this season’s running themes of protection and safety into the future, to a life beyond all this chaos.

MILAN, Italy — Running themes throughout this season have been protection and safety, logical responses to the climate of crisis that is wracking the present. But, in their second show for Jil Sander, Lucie and Luke Meier projected those ideas into the future, to a life beyond all this chaos. Or at least a future as it was imagined by the past, particularly in the sci-fi classic “2001: A Space Odyssey,” where a spiritual rebirth was achieved by transcendence over technology. Luke admitted to a nostalgia for that future. “It’s possible again,” he said optimistically.

So maybe the serene beauty of the collection could be construed as quiet optimism. The models were cocooned in monochrome, white, black, grey, but also head-to-toe cerulean, tomato and celadon. Some of them carried baby duvets. Others were swaddled in them. Softness reigned supreme. “The fabrics cocoon on their own,” said Luke. Even a corset detail came in felt, softening the idea of restriction.

The other decorative element was a wallpaper-y print which, woven in purple lurex, had a rococo edge. I thought of the room where the astronaut David Bowman ends up in “2001,” surrounded by relics of human civilisation. That may sound like an Ingrid-it’s-only-a-movie stretch, but it wasn’t so far off what the Meiers were thinking too. As much as there was a spirit of optimism, there was inevitably the melancholy that attaches itself to nostalgia. You scarcely needed Leonard Cohen croaking “Bird on a Wire” on the soundtrack to remind you of that. Equally melancholic: the square of white plastic that accompanied the invitation. As a reminder of environmental crisis, it unwittingly amplified the point the Meiers were making about the need for a new consciousness.

Sidebar: like Missoni earlier in the day, the Jil Sander show was maximally enhanced by showing the men’s and women’s collections together. Compatibility to the power of 2!

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Business Of Fashion- 24 février 2018

Prada On the Edge

Miuccia Prada showed a collection founded on oppositions, extreme power and extreme femininity — where sweetness read as a disguise, a distraction and a dare.

BY TIM BLANKS

MILAN, Italy — The exhibition that currently takes up most of the space at the Fondazione Prada covers the years when Mussolini was in power in Italy. It has an aching timeliness with its detailing of the impact that an autocratic popinjay can have on popular culture. “My thoughts are influencing the Fondazione,” Miuccia Prada declared after her show on Thursday night. It made sense to assume some connection between what she is showing in her galleries, and what she showed on her catwalk.

It was a sensational idea, if not particularly elevating. What it makes clear is how much creativity suffered under Fascism. “When things are getting bad, even art disappears,” Miuccia acknowledged. “And what worries me for the art, worries me for the fashion.” But that has sparked a quiet fury in her. “We have to be ready to identify and respond,” she added. So what she showed were clothes for women who were ready to resist. It made for a collection founded on oppositions: extreme power and extreme femininity. Paillettes, tulle petticoats and bows in the same outfit as padded tech pieces. “My excuse for the show was the freedom of a woman in the night, super-sexy without being bothered.” I believe I heard Miuccia say that. “How to be powerful and still be feminine.”

Laudable. It reminded me of “A Girl Walks Home Alone at Night, » a movie a whole lot more people should see, if only because it couches the #TimesUp debate — and its partner #MeToo — in such primal, incontrovertible terms. “#MeToo? I think about it since so many years,” said Miuccia. “It’s time to really make it happen.”

Maybe this collection was her contribution to facilitation. There was a lot of sweet prom dress girliness balanced on ankle socks and heels — there was even a manga flapper, sheathed in electric filaments — but it was matched to bulky tweeds and sporty nylons, hyper-protective. There was even a variation of the sanitation worker that Raf Simons offered at Calvin Klein. Defensive, vaguely apocalyptic. In that context, the sweetness, in embroidered tulle veils, read as a disguise, a distraction, a dare. You hardly needed Bill Murray and Wes Anderson in the front row to underline the depth of irony in such a notion. And the discombobulating layering of Frederic Sanchez’s soundtrack — Blondie, Bryan Ferry, Tom Waits — only added to the dislocated mood.

The show took place in the top floors of a recently completed tower in the Fondazione Prada compound. In the arid industrial space below were mounted neons of Prada iconography: The bananas! The monkey! It’s the art of Prada to make you feel on the edge of something. She did it again.

Vogue UK – 22 février 2018

11 Epic Prada Sets We Loved

by ELISA CARASSAI

MILAN Fashion Week rolls round again, and anticipation is mounting for the Prada show. But it’s not just about the clothes – we’re just as eager to see the sets. A long-standing collaborator with Rem Koolhaas’ design studio, AMO (it also designed Fondazione Prada in Milan), Miuccia Prada has, since 2007, been welcoming her guests with scenographic theatres of all types at Prada HQ on Via Fogazzaro, minus a couple of exceptions. Her most recent pre-fall show, for instance, was held in the warehouse that holds pending artworks for Fondazione Prada, causing fashion insiders to speculate on this season’s location. Here, we relive 11 spectacular sets that still pack a visual punch.

Autumn/winter 2013 menswear: « The Ideal House »
This was the season that AMO studio collaborated with American-German company Knoll on a series of design objects for the ‘ideal home’, with an interior populated with geometric furniture, objects and manifestations of everyday life, with screens that featured interior and exterior views onto a cityscape.

Spring/summer 2014 menswear: « Menacing Paradise »
Conceived by AMO studio as an abstract representation of a small town, the spring menswear set was lined with murals of tropical palm trees, sunsets, helicopters and « menacing » shapes. Helicopters whirled on the soundtrack to add to the threatening mood.

Spring/summer 2014: « In the Heart of the Multitude »
Artists came together to collaborate with Prada on a series of murals and illustrations that mused on themes of femininity, representation, power and multiplicity. Inspired by the politically-charged murals of Diego Rivera, muralists including Gabriel Specter and Stinkfish and illustrators Jeanne Detallante and Pierre Mornet saw their work almost enveloping the audience – and making its way onto clothes. The main surprise? Britney Spears was on the soundtrack.

Spring/summer 2015: « Outdoor / Indoor / Outdoor, 2″
For the previous menswear show, AMO had transformed the show space into a swimming pool. They reversed the impulse for the womenswear show, erecting purple dunes which were a stunning and unexpected backdrop, with models pacing through the desert on a brown carpet that lined the edges of the set.

Autumn/winter 2015: « The Infinite Palace »
Blue and black « fake » marble lined the walls of the men’s show, which sported metal ceilings and metal floors; Frédéric Sanchez put Front 242 on the soundtrack.

Autumn/winter 2015 womenswear: « The Infinite Palace »
A Wes Anderson-like palette of pale greens and sugary pinks covered the walls of the womenswear show space, punctuated by aluminium inserts on doors and floors to create a hyper-intimate environment. « Sweet… » said Miuccia Prada, of the sugar-spun saturation of colour on the clothes and the set, « but violent. I wanted impact. How can you be strong with pastels? »

Spring/summer 2016: « Indefinite Hangar »
Billed as an investigation of « the perception of continuous space through an invasion of the ceiling », the spring set featured fibreglass and polycarbonate « stalactites » hanging from the ceiling, illuminated by an orange glow.

Spring/summer 2017: « Total Space »
This was the show where AMO Studio built a mesh ramp on the remnants of the previous season’s set. Defined as « layers of different architectures », the ramp was illuminated by lights, and was conceived by American director David O. Russell as a surreal dreamscape, and featured a preview of his collaborative short film with Prada, Past Forward.

Resort 2018: « Suspended Ensemble »
For the first time, Prada showcased its resort show in its newly renovated Osservatorio, a top-floor exhibition space for contemporary photography in the Prada store in Galleria Vittorio Emanuele II in Milan. Millennial pink and mirrors combined with benches oriented towards a rooftop view of the Galleria’s dome.

Autumn/winter 2017: « Teen Dream »
Inspired by the « bare simplicity of everyday life », AMO studio constructed a series of domestic set-ups lined by an extending wooden ‘boiserie’, a partition between the private, Seventies-inspired teenage bedrooms and an urban front covered in posters.

Spring/summer 2018: « A Story Within a Story »
Designed by AMO studio in collaboration with NYC-based design studio 2×4, the spring set featured the work of eight visionary artists – including Brigid Elva, Giuliana Maldini, Trina Robbins and Fiona Staples – whose artistic aim was to illustrate women in a « uniquely empowering way ». The graphic panels also included archival work of Tarpé Mills, creator of the first female action hero – which popped up again in the collection.

Vogue – 20 février 2018

How A Legendary Romance Became The Theme Of Erdem’s Latest Collection

For his autumn/winter 2018 show, the designer describes his sea-crossing journey to bring Adele Astaire, the American dancer turned English aristocrat, to life.

by ELLEN BURNEY

For Turkish-Canadian designer Erdem Moralıoğlu, show season starts with an exchange with his favourite music curator, French sound artist Frédéric Sanchez. “We always start banging heads about what the music will be quite early on in the process,” Moralıoğlu tells me at his headquarters in an old Whitechapel warehouse in London’s East End. “There’s always some sort of narrative and he send me things and I send him things. One ritual I find is that by listening to the music – often on the way to work – I can start to visually understand what look one might be, what look two is, etc.”

The soundtrack is still “a work in progress” when we meet, five days before his autumn/winter 2018 show – but the tone is set in old castle stone. A collection of tweedy kilts, corduroy and jewel-encrusted gowns are inspired by “the extraordinary romance” between 1920s American Broadway star Adele Astaire – sister of Fred – and Charles Cavendish, an English lord and son of the 9th Duke of Devonshire. The theme was cemented at Lismore Castle in Ireland, their marital home. “I love the idea of this vaudeville, tinselly, kind of extraordinary girl who came from Hollywood then came to Ireland,” says Moralıoğlu, who visited the castle in Cork. “A shine mixed with something tweedy and woolly – mixing these two kinds of worlds that really don’t mix together at all.”

It’s 8.30 am and two coffees down, Moralıoğlu is sitting for his portrait. Hot onn the heels of a sold-out collaboration with H&M in November, 2018 is coming on in leaps and bounds. In addition to his upcoming runway collection, Moralıoğlu – who founded his label in 2005 and is best known for his demure and decorative gowns – is also designing a series of costumes for a Royal Ballet performance, which premieres in March. “I am thrilled. I am spending so much time at the Opera House at the moment working on the ballet with [choreographer and the Royal Ballet’s Artistic Associate] Christopher Wheeldon, so that’s been the most exciting thing this year, getting the wheels in motion.”

Moralıoğlu came to Lismore Castle by way of Chatsworth House, home to the Devonshires. “I was with my friend Laura Burlington, who is married to William Cavendish, son of the Duke of Devonshire, and I actually ended up going to Ireland. She was showing me around and the perimeter of this pool that Adele Astaire had built really kind of stuck in my head – the outline of this 1920s pool that was then filled in.”

To begin, he looked back to Adele’s early performance days as a dancer. “These kind of drop-waist. 1920s shapes felt really interesting and modern,” he says, with a nod to his splendid silver drop-waist dress embroidered in sequins. “But also these kilts and skirts that had kind of inverted box pleats in wool,” he says pointing to an old photograph of a traditional Irish costume.

He describes the autumn collection as feeling quite “masculine and dark.” Tweeds, such as an oversized double-breasted men’s coat, are combined with bright, light jacquards. “There was also that idea of the formality of a castle and what finishings you would find in there combined with something that’s quite casual and almost day[wear]. Like what would happen if you took Fred Astaire’s jacket or her husband’s tweed coat over this kind of shiny tulle dress.”

Moralıoğlu turns to his mood board, pointing to black and white portraits of Adele. “The graphic polka dots seemed to be a weird recurring theme.” They bounce throughout his own collection in oversized tulle overlays. Then there’s a picture of a Twenties star-spangled swimsuit that Moralıoğlu spotted at the Musée des Arts Décoratifs in Paris. “I love the idea of the star motif mixed with these very Irish tweeds.” The motif shines on a cape, skirt and dress.

Back at Chatsworth, he worked with the archive and the family walked him through this “whole world”, where Astaire and her future husband met when she was performing in London. Moralıoğlu was presented with some scrapbooks made by a local family in Ireland “who were totally obsessed” with the romance between Adele and Lord Cavendish. “I felt that there was something so wonderful about this family that observed the couple at a distance, and almost documented what would happen to them.”

At this point, I suggest an alternative career as a biographer. “Maybe film,” he muses. “Maybe?” But he’s not serious. He returns to his current muse. “In a way I really need that kind of narrative to be the catalyst of something, and then from there things come. Whether or not the stories are legible when you see the collection in stores, I don’t know, but it’s that tool that I need.”

Dior Homme fall winter 2018 19 – Empty Space – Composition originale