[vc_row][vc_column][vc_column_text]When looking for creative inspiration, Kim Jones appears to be looking to the stars. Fendi women’s wear Creative Director just showed his sixth haute couture collection for the house a few hours ago. At Fendi, the designer has never shied away from his love for stars and all things space. His models wore galactic couture last spring/summer. They stalked through the underbelly of a spaceship, sheathed cassocks and obsidian sequins, like sci-fi courtiers. Jones returned to his shuttle this season, but the mood was noticeably lighter. Fashionistas and fans gathered outside La Bourse, Pairs’former stock exchange. With Kerry Washington looking wonderful in a parakeet green tailleur, and Milly Alcock in an artic blue look, the same shade worn by Courtney Love. Sarah Paulson.seated alongside partner Holland Taylor, alongside Amber Valletta, rapper Doja Cat, and actresses Emilia Jones were all their to witness the grandeur of the collection presented in the central nave of the Palais Brongniart into an elliptical control room with blue bench seating, with the audience awkwardly settling to some very strange pre-show white noise. When Helene Arnault, wife of Europe’s richest man and Fendi owner Bernard Arnault, appeared from backstage, it signaled that the show could begin. She sat next to Jean, the second of three sons dressed in a floral embroidered coat.
[/vc_column_text][vc_single_image image=”4086″ img_size=”full” alignment=”center” onclick=”link_image”][vc_column_text]A sterile environment, but one softened by Jone’s spring/summer 2023 collection, featured breathy negligées and pastel drapery. Layered looks with exposed bralettes underneath strapless gowns added to the collection's whimsically undone feel. To varying degrees, pieces combined lingerie and evening wear elements to create something entirely unique. Metallic silver, which was a prominent theme throughout the collection, is the season’s ‘‘it’’ color so far. Chain mail gloves slouching gently from wrist to elbow complemented silver dresses with straight and soft V necklines, one of which featured a similar metal fabrication. The use of heavy material contrasted with fluid fabrics and romantic cold shoulder sleeves that extended to the ankles.
The pulse of Fendi’s heritage was found in a plethora of intricate lacework, micro-pleating, and beading; also notable was the use of Japanese Fuuga, the world’s finest-gauged mohair, spun into lace-look crochet. Fendi’s craftsmanship stood out more against the stark surroundings.
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Asymmetrical drop and hoop earrings in dramatic proportions complemented the delicate floral appliqués and lace details in muted pastels. The end result was clothing that felt lighter and airier than most haute couture collections, but was no less jaw-droopingly beautiful. Jones layered chiffon and lace throughout floor-length gowns in a lingerie-style approach. The collection is an inner world made into an external one—both figuratively and literally—with a sense of underwear becoming ‘‘eveningwear’’ he wrote, and those themes were most visible in delicate, super-thin straps or gently moulded satin cups built into gown busts.
The collection would be quiet a way for a woman with the means to afford Fendi to enter a room.
Photo via Getty Images[/vc_column_text][/vc_column][/vc_row]