'Shadows' were both the title and starting point for Lutz's Autumn/Winter collection - in a season dominated by the sober, sombre shades of every kind of chiaroscuro, it seemed a fitting choice. As with so many of Lutz's collections, this one explored a single theme through all twists, turns and permutations. It would be simplistic for shadow merely to inform his colour palette; therefore Lutz examined the way shadows fell across an object and overlapped each other, replicating this in wrapped panes and layers of plisse silk-chiffon. Sometimes, a single layer of chiffon formed a physical 'shadow' over another fabric, other times the chiffon looped at hem, falling back across sections of the body and leaving bare windows onto the flesh. Square-cut garments had fluttering fins of fabric cast out from more fitted sections, while asymmetrical, single-sleeved capacious dresses seemed to be literally under a cloud, a single coloured arm or detail emerging from the shadowy depths. All very conceptual, very dark - and frankly, very Margiela. Then again, Margiela's influence is such that it seems churlish to point out his inestimable inspiration to whole generations of designers - not least his own. Still, with raw-edged, bunched seams, sequined transparencies and those asymmetries reminiscent more of Margiela new than old (namely Margiela of just a year hence), it would have been more refreshing if Lutz could have spoke with his own voice.
With raw-edged, bunched seams, sequined transparencies and those asymmetries reminiscent more of Margiela new than old, it would have been more refreshing if Lutz could have spoke with his own voice.