Coordinated by Elbaz’s long term stylist Babeth Dijan, the clothes were shown in alphabetical order. Unsurprisingly, hearts were a leitmotif: Jean-Paul Gaultier, citing Elbaz’s “coeur a l’ouvrage” (roughly translating as putting his whole heart into his work) offered a couture dress composed of layered, three-dimensional, ruby red hearts; Alessandro Michele’s purple gown was suspended from a double heart-shaped brassiere; Vetements’s broad-shouldered pajamas were scattered with a tumbling heart print; and Viktor & Rolf’s magisterial white trench coat ballgown was framed by graduated hearts arranged on the sleeves and skirts in an ombre of reds and pinks. (“We thought of a coat that wears hearts on its sleeves,” the duo explained, “just like Alber did.”)
Others chose to immortalize Alber’s own iconic look, and his playful dress sense that evoked a silent movie comic with his trademark bowtie, barrel-shaped jackets, and shortened pants.
Dries van Noten, for instance, had developed an elaborate intarsia portrait that decorated the front of his scarlet evening coat whilst Ralph Lauren gave his model—and the Polo Bear on the front of her sweater—Elbaz scarlet bowties. Balmain’s Olivier Rousteing depicted Elbaz on the bodice of his liquid white satin evening dress, and Lanvin’s Bruno Sialelli evoked a billowing Lanvin dress of parachute silk, hem buoyed with a ruffle, from spring 2008 with a giant portrait of the designer on the back that floated on air as the model made her circuit around the Carreaux du Temple. Rosie Assoulin, meanwhile, who once interned for Elbaz, designed a clever look that came together to create a trompe l’oeil Elbaz, his jacket as a skirt, his television-frame glasses a bodice.
Hermes’s Nadege Vanhee-Cybulski revisited a 2014 scarf with a print originally designed by artist Dimitry Ryabaltchenko that depicted Elbaz at the window of the storied Lanvin flagship building, the Hermès’s neighbor on the rue du Faubourg Saint-Honore where he worked for 15 years from 2001.
Many tapped into Elbaz’s inventory of signature designs—Donatella Versace looked to his draped sleeves; Schiaparelli’s Daniel Roseberry celebrated his “particular affinity for bijoux” and “joy in explosive volumes;” Balenciaga’s Demna Gvasalia did the same with his hot pink nylon taffeta opera coat “creating maximal volume using minimal seams” whilst the ruffles that Elbaz loved were evoked by Valentino’s Pierpaolo Piccioli in a magnificent ballgown of hot pink volutes and by Alexander McQueen’s Sarah Burton in a short embroidered coat dress. Burton, who shared with Elbaz a passion for craft, recalled in the accompanying program that “we talked many times about the process of creation, about how, often, the toiles, early fitting stages and prototypes were more important to us even than the finished piece.”
The show closed with the AZ Factory design collective’s powerful tribute of their own, again riffing on the founder’s impactful signature looks, and Amber Valletta embodied the man himself in a jacket cut from the same pattern as the one his team had originally created for him, its hem embroidered with images of his unforgettable clothes.
For the finale, the backdrop curtain opened to reveal the models in a three tier high scaffolding grid, framing a portrait of Elbaz and grooving to the O’Jays’s feel good 1972 classic “Love Train.” There were torrents of heart shaped confetti and there were torrents of tears.
"Factory" - Google News
October 06, 2021 at 08:19PM
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AZ Factory Spring 2022 Ready-to-Wear Collection - Vogue.com
"Factory" - Google News
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