It provided a continuing exploration of what he described as ‘turning the straightforward into something not so straightforward’ as such, there were enormous tops which evoked swatches of fabric (complete with an equally large dressmaker’s pin as adornment), crystals which ‘swarmed’ across shirts, trousers and sunglasses, or beautiful leather jumpsuits which sliced open down the sides. The look became dwarfed, but I liked that,’ he said after the show. ‘I wanted the idea of looking up at someone, as the audience was looking up at the statues, the idea that the torso becomes smaller and the leg longer. As such, elongated wide-leg trousers and jeans sat high on the waist, the upper half comprising tucked-in shirts and cropped knitwear, or shimmering sculptural pieces which recalled twists of fabric but appeared solid to the touch. It was this feeling of perspective – of looking from the ground up – which inspired his latest menswear outing, designed to feel like you were looking up at the model through a fish-eye lens. It was the first time the collection of works had been shown together in a single location, said Anderson, noting that particularly with the central trio – which reached upwards to the roof and sprayed water out onto the catwalk – he was fascinated by the way they dwarfed the viewer who is forced to look upwards to their height.
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‘The summer is serene and joyful, the air is cool, the allure unequivocally sensual,’ said the house.Ī series of fountains by American sculptor Lynda Benglis had been installed in the Loewe showspace at Paris’ Garde Républicaine. Equally seductive accessories included tote bags constructed from grids of cord, double bridle-leather belts and shimmers of palladium-finish jewellery. It was nearly impossible not to be seduced by the vision (more so since Paris is currently in the midst of a sweltering heatwave), which began with an airy semi-sheer shirt with subtle grid design and just-cropped trousers, before moving through a gamut of lightweight layers, from abbreviated shorts and gauzy tailoring to twill shirts constructed from Hermès scarves.
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It was a philosophy on full display in the light-filled main hall of Paris’ 1939-built Palais d'Iéna, where Nichanian presented a collection the house described as ‘as soft and sweet as a summer breeze, stirred by a tender strength’. A feeling of lightness – in both construction and spirit – has defined Véronique Nichanian’s over-three-decade tenure as artistic director of Hermès’ men’s universe.
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