Paris (AP)-second collection of Michael Ryder for Selin, shown on Sunday at Parc de Saint-Cloud, confirmed that his discharge of the house was less gap than his numerous past.
Where his July Debut played with minimalism of former designer Selin Fibi Filu and bourgeois sewing Hedi Sliman, one motive – Follard – and crashed him into the grammar of the season at the Parisian Ryder of Fashion Week.
The scarves were no longer accessories. They became a structure: sewn in long dresses, as if they were allocated from a dozen old squares; changed as silky peaks; Or look from the lining of a simple simple trench. Even bags carried fragments of a scarf as a decoration.
Around this anchor, Ryder played with contrasts. The floral power of the seventies reappeared in psychedelic a-line of mini-linii with pure silhouettes, their retro-power, softened by modern restraint. An uncomfortable men's costume is black, double-breasted, cut with confidence, a landslide collection in sharp sewing. Maxi skirt, buttoned up and unbuttoned to show another layer, nodded both stories and inventions, elegantly and go.
The quirks gave the show their advantage: a multi -colored strip sock, blocked panels that signaled the return of a once dairy tendency. These touches recalled the “convincingly disturbing” play with the proportion in their debut, which indicates that Ryder’s strategy is not to impose a new type of capital than to discuss the heritage of generations, visible during the current fashion season.
For some, the lack of a radical rupture can still be disappointed. The racer’s love for the collage can read as a hesitation. Nevertheless, the Sunday show proposed confidence, and not doubt: a designer who wants to put minimalism in the first place of Philon, the bourgeois drama Sliman and his own ready-made past in a consistent new tongue, one scarf at a time.
