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Sialelli’s modern-artisanal aesthetic . Is very firmly entrenched in that of a growing school of young designers in Paris who trained during the early reign of Nicolas Ghesquière. The others are Natacha Ramsay-Levi at Chloé and Julien Dossena at Paco Rabanne, and their work shares many references and experiences that sometimes blur together between collections. Sialelli’s natural-grain leathers, tiered tunic-like outfits, and Fair Isle knits with the letters “JL” worked into the intarsia, are also elements that would have been familiar to him while working with Jonathan Anderson at Loewe. Sialelli did, in a way, pay tribute to the Lanvin legacy when he also included a lot of children’s wear that was blown up to adult-size proportions. Botter and Herrebrugh, who came to the fore through the LVMH Prize with their super playful collection Botter, took a much more serious approach with their first swing at Ricci.
, hoodie, sweater, longsleeve and ladies t-shirt
Sailor suits and cartoon prints, including appearances by Babar the elephant, and toggle coats worn by grown men had a little-boy quality to them that was charming, if you like that sort of thing . However, a curious contrast came at the end with R-rated prints of copulating couples. Ramsay-Levi, meanwhile, has firmly placed her stamp on Chloé in less than two years. Hers is a more sexual, probably younger, and definitely Frenchier, Chloé girl than that of her predecessor, Clare Waight Keller. In her fall show, a ruched white blouse was topped with a ruff-like neck and worn with too-long cargo jeans that flared slightly below the knees. Some trousers were so slim as to appear as constricting as leggings, with zips in the back of the ankles to allow a woman to wear them with heels. Short shirt-dresses came in toile prints trimmed with lace and longer, looser dresses were detailed with elements of lingerie – sexy, free, and romantic, without being overt.
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