Mamma Mia! Here We Go Again Fashion
Manner Review
Hedi Slimane's Celine: Mamma Mia! Here We Become Again
Rejecting the female person gaze for baby doll poufs and skinny suits — and other clothes nosotros've seen earlier.
Paradigm 
PARIS — On Friday night in Paris, every bit the moon rose over the gold dome of Napoleon's tomb in Les Invalides and a giant black box specially synthetic in its backyard loomed in the shadows, Hedi Slimane, the much-admired, much-decried designer who left Yves Saint Laurent in 2016 and whose ghost had been haunting fashion ever since, made his return to the catwalk.
He did it nether the auspices of the house of Celine, and he did it with Celine-branded Champagne miniatures and a (literal) drumroll, cheers to members of the Republican Guard. He did it with a especially constructed backdrop of his own design made from transmuting silvery squares that looked similar they had beamed in from planet Krypton. He did it with 96 looks on concave, skinny boys and cranky, baby-faced girls.
And fashion, which had been on the border of its seat, fell off. Déjà vu! It was disorienting: what twelvemonth was this? Merely at to the lowest degree some questions had been answered.
For those who, upon hearing that Mr. Slimane had been named Lord Chief Overseer (O.K.: creative, creative and image managing director) of Celine, feared that the days when this brand divers what it meant to exist a smart, adult, self-sufficient, ambitious and elegantly neurotic woman were at an end — you lot were right.
For those who worried that maybe, after reinventing Dior Homme in his own Sparse Night Duke image, and Saint Laurent in the shape of dissolute morning-after Los Angeles teenagers, perhaps Mr. Slimane did not have another brand vision in him — yous were right, too.
Epitome
And for those who asked whether brand Hedi would take precedence over brand Celine — well, yup.
None of this was really surprising. Nor was the fact that the drove was almost entirely in black and white, plus a bit of gilded and argent, with a dash of green and red thrown in. Or that for girls, it generally consisted of super short 1980s babe doll prom dresses with metal poufs, motorcycle boleros and some very slick tailoring (oh — and i pair of baggy acid-washed jeans with a little fur chubby).
Or that for boys, it was the tailoring again: narrow pleated trousers hiked high on the waist and cropped in at the ankle; razor-sharp jackets, both double- and unmarried-breasted, long and short; skinny ties.
Or that the distinguishing characteristic between the two was mainly black trapezoidal spectacles for the boys and little haute flea-marketplace fascinator veils for the girls. Plus some nicely bourgeois chain handbags. Mr. Slimane has done all this earlier.
Information technology was the essence of his YSL, which he rechristened Saint Laurent, just as he rechristened Céline as Celine, dropping the emphasis. In both cases, Mr. Slimane was going back to an before incarnation of the logo, because — well, it was never entirely clear. Considering he could.
It sold very well for YSL. Celine's owners are probably assuming it will do the same for them. If they have to sacrifice all that the brand used to represent in the process, so be it. It'due south fashion! Things change.
Except not Mr. Slimane. Generally, when designers hop from heritage house to heritage firm they brand some nod to that heritage. Celine's has been fuzzier than nigh, granted — it doesn't accept the aforementioned logo totems or pattern iconography. And when Mr. Slimane'south predecessor, Phoebe Philo, arrived, she, too, swept away what had been earlier. Remember that? Didn't think so. It wasn't much, which was why she could.
But she gave Celine an identity that for women meant a swell deal, because it was clearly for them, not an image of them caught in a black and white photo of dorsum alleys and nightclubs and the damage washed later on dusk.
And information technology does beg the question: Why not merely give Mr. Slimane a brand under his own name? That's effectively what's happened here. Why not but call it what information technology is? Why hedge your bets with a pseudonym?
Paradigm
For a while, it was possible to concur out hope that Mr. Slimane might have lived up to all the hype effectually his reputation. That instead of repeating himself, he really would have been able to evolve his sense of form into something new; something that spoke more generously to those with multidimensional lives. Information technology's rare for a designer to be able to alter how people use apparel to express themselves more than once in their career — Yves Saint Laurent (the man) did information technology, just he was an outlier. Information technology turns out Mr. Slimane isn't. He had his moment. It mattered. Now he'south but reliving it.
Will the rest of united states desire to, as well? The whippetlike suiting, which will be available equally for women as well as men (though the treatment does non apply to dresses): yes. But the pouty, infantilizing residuum of it? The lack of diversity of any kind? No, thank you.
Ii years ago when Mr. Slimane departed fashion, the globe was a different place. Women were different. Hell, they were different a few days ago. They take moved on. But he has not.
And it meant that, despite an audience crammed with rock'south hipster elite, the lyrics that virtually came to mind were Mamma Mia! Here we go again.
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Source: https://www.nytimes.com/2018/09/29/fashion/celine-hedi-slimane-paris-fashion-week.html
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