A research in Conceptual Fashion and Timelessness
She defines her eponymous brand as contemporary, multifunctional, timeless, with a derisory spirit and a surprise effect.
Of the young, promising Belgian designer Marie Adam-Leenaerdt, on the Parisian catwalks for the second time, the sure-handed confidence and tailoring expertise are undeniable. There is a strong commercial potential in the way she handles to perfection – among other things – the clean cut of the trousers and especially the skirts, which look like modern sarongs, that tie at the waist through a simple drawstring; and again, the simplicity in the construction of the black dress fastening at the neck with a négligé bow. Drawstrings at the hip allow to change at will the fit and slope of the dress in relation to the body; the wrap skirt, where the hemline ascends around the body, recreates a very pleasing effect of dynamic layering.
The jackets and coats, however, have little of timeless classicism except their appearance. The lapels are pressed against each other, disrupting the buttoning and the integrity of the jacket itself. The surprise is there, and it is ostentatious, but the garments rather than transcending seasons and generations, end up tiring soon enough. Just as practicality is lost in dresses built around the model’s shoulders, where the sleeves blend into the body of the dress, compromising the use of the arms. Conceptually fertile for a fashion show, these latter pieces are poorly suitable to nowadays fast-paced lives as they are not preserving practicality nor ease of use.
The influence of Balenciaga – where the designer previously worked – is strong in the terry robe with a pink towel for a belt; captivating are also the dresses with square padding on the breast and the caftans that occlude from view what would lend a more flirtatious beauty to a dress designed for a woman, in a subtle attempt to deny, or to hide, femininity.
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