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How can a label ensure that it captures the attention of the general public? Loewe and Coperni, which in recent months have become two skilful brands to break into social networks thanks to what is being played out on their catwalk, solved the equation each in their own way at Paris fashion week.
After having “broken” the Internet in October, thanks to a happening in which Bella Hadid was covered with a spray which, frozen, transformed into a white dress, how was the French duo Coperni going to get back in the saddle in the race to the visibility ? At the National Dance Theater, the duo brought up five robot-dogs with articulated legs and mouths equipped with a camera. From Boston Dynamics, “they are destined to be sent to war or potentially toxic grounds, but their owners have signed a charter promising that they will never be armed”point out Sébastien Meyer and Arnaud Vaillant.
These remote-controlled and dystopian machines trot around skinny mannequins whose wardrobe is inspired by a fable by La Fontaine from 1668, The wolf and the lamb, on the art of living together in harmony, read by an artificial voice. Therefore, the wardrobe is that of a little red riding hood 4.0. The strict innocent capes cross lacerated skirts; a mini suit-shorts succeeds blood-red leggings, woolen sheets to wrap oneself in, a meteorite bag or draped sheaths held by metal yokes in the shape of finger emojis. The face-to-face between a robot and the diaphanous model Rianne van Rompaey, the first tearing off her cape the second with a mechanical gesture, was enough to go viral.
Very Polly Pocket Pink and Green Sets
“Today, we consume and zap images so quickly that one of the major challenges facing any designer is that of overexposure of clothing”, analyzes Jonathan Anderson. The response of Loewe’s artistic director has been for several seasons in clever trompe-l’oeil creations, to ensure “that a garment already seen on a screen guarantees a novelty effect when you come to touch it or try it on in stores six months from now”.
This season, under a tent with an immaculate interior, set up within the walls of the Château de Vincennes, he circulates his models between 21 colored cubes of confetti set up as if by magic by the Italian visual artist Lara Favaretto. More pared down than some seasons, Jonathan Anderson’s creations overinvest in textures (fluffy suede for boots, soft goose feathers in T-shirts and shorts, stiffened leather for very Polly Pocket pink and green outfits, etc.) and play on the vague, the illusory.
Thus, the prints of the silky dresses are nebulous, like a photo taken while shaking, or imitate a trench coat, in a pure mirage. Leather or satin shirt dresses feature a gold chain borrowed from a bag, giving life to a half-garment, half-accessory hybrid, while cardigans that look cracked turn out to be stickers applied to the bust. dummies. In a season where houses rely above all on celebrities invited to the shows, from Hollywood stars (Jared Leto) to K-pop stars, to thawed glories (Avril Lavigne), Loewe suggests that it is also the garment itself that can make you want to click and zoom.
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