Embarking on a fashion escapade, Jacquemus transported us to a realm of artistic serenity with its latest collection, aptly named “Les Sculptures.” The enchanting showcase unfolded at the Maeght Foundation in Saint-Paul-de-Vence, offering a respite from the bustling Parisian fervor of the past week. Nestled in the idyllic landscapes of Southern France, guests found themselves amidst a curated spectacle of sculptures, paintings, and installations crafted by luminaries like Alexander Calder, Paul Jenkins, Hans Hartung, and Alberto Giacometti. Beyond the sartorial elegance, Simon Porte Jacquemus seamlessly intertwined high fashion with the artistic essence of its native backdrop, providing a visual feast that transcends mere runway displays.
Bathed in the soft glow of natural light, the front row at Jacquemus’ “Les Sculptures” showcase became a constellation of A-list luminaries. Among them were Kylie Jenner, accompanied by her daughter Stormi, alongside Julia Roberts, Pink Pantheress, and Jack Harlow. Within this artistic haven, the boundaries between celebrity, fashion, and art seamlessly dissolved. It wasn’t just a show; it was a convergence of stars who not only observed but actively participated. Gigi Hadid, making a striking entrance in a tailored coat with a scooped neck and exaggerated lapels, and Emily Ratajkowski added their allure to the already spectacular affair, turning the runway into a celestial catwalk.
Off-white cropped blazers, crafted from textured leather, took centre stage, provocatively cut above the waist and paired with matching knee-length skirts. This daring elegance extended into menswear, where structured shirts and ties replaced exposed collarbones. Accessories played a pivotal role, featuring angular briefcase-style bags and rounded handbags gracefully cradled in the models’ palms. Notably, the Les Doubles sandales adorned the runway, echoing the architectural wonders of the space. A standing ovation was awarded to the models who effortlessly strutted in these enthralling creations, epitomising the union of architectural finesse and avant-garde sophistication.
Jacquemus orchestrated a fashion spectacle by welcoming guests with a grey trompe l’oeil sweater/scarf hybrid, a coveted piece already available on the brand’s website. This ingenious creation played a recurring role throughout the collection, notably enhancing a knitted cream dress with a touch of country-club chic. The deceptive allure of the scarf sweater encapsulated the designers commitment to blending artistry and fashion, offering enthusiasts an opportunity to embrace the label’s avant-garde aesthetic firsthand.
In the realm of Jacquemus, form became a stylish plaything – showcasing a distinct departure from convention. Suits took centre stage with lapel-free finishes, infusing a dash of androgyny into their traditionally masculine aesthetics. Rigid collars, perpetually windswept in appearance, extended seamlessly from collars, introducing a novel dimension to tailored ensembles. This gender-blurring theme persisted in later men’s looks, featuring leather jackets adorned with wide open necks reminiscent of blouses. This intentional blurring of boundaries not only challenged traditional distinctions between men’s and women’s fashion, but also underscored the brand’s unwavering commitment to impeccable craftsmanship.
´In a captivating display of binary blurring, Jacquemus redefines feminine power dressing with women’s suiting taking centre stage. The ensembles, adorned with rounded, padded shoulders, made a commanding presence on the catwalk. A cinched waist, accentuated by a coordinating belt, seamlessly integrated with a skirt and elegantly paired with leather slingback heels. Embodied by Emily Ratajkowski, this look encapsulates a feminine interpretation of power dressing, marked by beautifully exaggerated rounded proportions that harmonise effortlessly with the aesthetic allure of the surroundings.´ – Charles Daniel McDonald
The designer presented other diverse looks, featuring a veiled wearer adorned in a seamless white dress. The dress, characterised by a rigid angular front panel, created a captivating interplay of tension, mirroring the architectural dichotomy of the show space. Typically known for its “Mediterranean village” aesthetics, the angular architecture found a softened counterpart in the curved features across doorways and onto the roof, echoing the brand’s meticulous attention to detail and the seamless fusion of fashion and spatial design.
The French house once again asserted its mastery of modern chic with a predominantly black and white palette, occasionally enlivened by vibrant pops of red and grey. Embracing the brand’s signature asymmetrical style, trousers protruded dynamically from the waist, complemented by a sleek black tank top featuring an angular scooped neck. The ensemble was cinched together by a black leather belt adorned with gold hardware, while a dark green bucket-style bag provided the perfect finishing touch.
The show continued to unveil a breathtaking display of artistic elegance within its Spring / Summer collection. This was one which seamlessly intertwined the kinetic essence of clothing with the timeless beauty of sculpture and painting. The brand’s ability to elevate fashion to an art form was evident, creating an impressive tableau that transcended traditional runway presentations. Très bien, Jacquemus, for redefining the boundaries between fashion and art.
Article: Charles Daniel McDonald