Ensemble, Jacquemus

TOP "LA MARINHEIRO", SKIRT "GROUND", HAT "BOMBA", PAIR OF EARRINGS, MICRO BAG "ESPELHO" AND PAIR OF UNCOORDINATED SANDALS

  • Jacquemus

  • Gros-grain label woven on the top, folded inside seam on the left side, on the skirt, inside mid-back waist and on the hat, inside mid-back, white on night blue: "JACQUEMUS".
  • Ready-to-wear, spring-summer 2018, "La Bomba" Collection
  • Mercerized cotton jersey with black ribs. Viscose canvas and draped beige acetate. Braided straw. Grosgrain. Black plastic. Polished silver plated metal Gold plated metal with hammered effect. Nude leather. Natural wood. Painted wood. Gilded metal.
  • GAL2019.16.1.1-8
  • Donation of Jacquemus – Vogue Paris Foundation 2018
  • Palais Galliera, musée de la Mode de la Ville de Paris

Simon Porte Jacquemus founded his company in 2009 in Paris. The designer makes his origins in the South of France and his life the main source of inspiration for each of his collections.

In 2009, it was the death of his mother that prompted him to create his brand. For spring-summer 2018, he makes this painful memory the theme of his collection. Entitled "La Bomba", the creator is based on the joyful vision of a woman who dazzled by her uncomplicated look.

The simple and black t-shirt contrasts with an asymmetrical draped skirt slit high on the thigh. The bag is microscopic in size and the sandals have heels made of pyramids or wooden balls, like children's toys (the designer admits to drawing his silhouettes only from circles, circles and squares).

The braided straw hat is one of the emblems of the collection. A real commercial success, it is also at the heart of a plagiarism scandal as contemporary fashion knows it well, since the creation on social networks of accounts specially dedicated to denouncing them. For example, the "La Bomba" hat was compared to traditional braided hats from Jalisco in Mexico. This heated debate, on which the press and social networks have been unleashed, has no basis when objects are physically compared. However, it is symptomatic of the state of contemporary creation, where many tensions are expressed, denouncing the lack of creativity of couturiers who are called upon to produce relentlessly and where the desire for quality and know-how is opposed to the appearance of marketing.

In this respect, this silhouette is as much an emblem of a designer as it is of a fashion state at the end of the 2010's.

 

>> Discover the show on Vogue.fr 

Notice's author : Alexandre Samson