This was Nadège Vanhee-Cybulski’s second womenswear collection for the house. Building upon the desire for haute linear sportiness, its memo felt au courant. Choosing to steer clear of the lady days of the brand, the equestrian heritage is very much hauled up in a stable somewhere. In these days of planned obsolesce and iPhone updates, the turn of the century days - when Martin Margiela was Creative Director of the house - seems to be the oldest version we can run our runway software on. Both Vanhee-Cybulski - and Lemaire before her - took direct inspiration from this period. This is strictly not true; even Margiela had to go digging somewhere – and they have mined some of his references too.
The collection started off super strict, and even when it switched to shades of white and cream, it was still equally impenetrable. Bold colours in andalousite, carnelian, cordiérite, and red jasper popped, whilst the prints added some much needed character to the collection. Expressionist dabbles depicting L'eperon d'or worked really well, as did a griddled graphic that avoided being too sterile. The silk dresses and Hermes integrated scarf designs were a cheery foil to the seriousness that haute French chic currently depicts. Ironic how what you sometimes try to get away from, is the very thing you need.