In a fashion celebration that believes love begets love, does it matter who’s good who’s not; who got it right, who didn’t?
There is no semblance of mass manufacture at the AZ Factory memorial/homage to its founder Alber Elbaz. The guest designers and brands that participated in Love Brings Love showed one-offs, which are likely produced in a couture atelier or RTW sampling room. And no one invited to show swapped. They each did their own thing, many with “codes” of what Mr Elbaz’s aesthetic legacy is. Or, offered something that hints so subtly that it is gone the minute the models walk past in the smoke-filled arena. Although it was initially reported that AZ Factory had asked 44 of the world’s most known names to participate, the show-day figure turns out to be 45—the final is the design team of AZ Factory; they produced 28 looks that are truly evocative of Mr Elbaz’s body of work.
Love Brings Love has been described as the “grand Finale” of Paris Fashion Week. Within a single show, the designers from all over the world “put rivalry aside and came together on the runway, paying tribute to their late peer”, as W magazine describes it. Quite a few of them are seated in the front row, observing what their rivals-not-for-a-day are presenting, smiles throwing off the scent as to what they might truly be thinking. Do they, like us, wonder if some of the designs are on-theme? Or are themes not meant to be followed, just as it is at the Met Gala? Are themes in themselves outmoded since the thematic approach to design is hardly ever seen these days? Do those watching in front of their digital devices care about themes, even if it is to honour one designer with a clear vision and an unapologetically romantic aesthetic?
Clockwise from top left: Alaia by Peter Mueller, Alexander McQueen by Sarah Burton, Balenciaga by Demna Gvasalia, Dries Van Noten, Comme des Garçons by Rei Kawakubo, Bottega Veneta by Daniel Lee
Clockwise from top left: Gucci by Alessandro Michele, Jean Paul Gaultier, Raf Simons, Thom Browne, Saint Laurent by Anthony Vaccarello, Sacai by Chitose Abe
Clockwise from top left: Valentino by Pierpaolo Piccioli, Versace by Donatella Versace, Vetements by Guram Gvasalia, AZ Factory design team, Vivienne Westwood by Vivienne Westwood and Andreas Kronthaler, Viktor & Rolf by Viktor Horsting and Rolf Snoeren
If it’s more and more come dress as you like even when there’s a dress code, it’s also design as you please no matter how distinctive the designer you’re honouring was, or how acclaimed. The heart shape is very much Alber Elbaz’s signature, and so, unsurprisingly, it is picked, appearing as crotch piece, bra cups (or are those pasties?), and edging of a coat, like a halo. A particular pink too is a colour associated with Mr Elbaz. So it appears twelve times, from sumptuous gowns to the shortest dress, and everything between. Flounces are unexpectedly less considered, so is the one-shoulder. Rather, Mr Elbaz’s personal style is explored, even caricatured. His favourite oversized floppy bowtie appears a few times, even in the form of the one Minnie Mouse wears on her head. So too his recognisable gait. Amber Valletta, emerging in a baggy coat, even walked like him and took the customary bow at the end of the show as the designer did, body cocked to the left, and smile totally discernible.
One question does emerge as the show continues. Will these clothes be available to buy? Will they be stocked through the AZ Factory website? Nothing, as far as we know, is mentioned about the sale of these pieces. It was reported that before Alber Elbaz passed away in April, he had thought of creating a traveling show, based on the théâtre de la mode, a mobile exhibition featuring French couture on mini dolls that was conceived to promote the industry during the difficult period after World War II. Love Brings Love is based on this, only minus the miniature mannequins. If the show does travel, can we be hopeful that it’ll make its way to our shores in the near future?
Screen grab (top) AZ Factory. Photos: gorunway.com