Sculpted shoulders, chiseled structures, Mirós and Giacomettis.
In the ethereal ambiance of La Fondation Maeght, where artistic brilliance has flourished for six decades, JACQUEMUS (Instagram) recently showcased their SS24 collection, Les Sculptures, against a backdrop of iconic works by the likes of Joan Miró, Fernand Léger, Alberto Giacometti, Jean Dubuffet and Ellsworth Kelly. The presentation marked a return to the landscapes of southern France, a place that holds profound significance for designer Simon Porte Jacquemus (Instagram).
Gigi Hadid (Instagram), a seasoned presence on the fashion scene, graced the stage as the show’s opener, setting the tone for a spectacle that melded artistry with sartorial innovation, equally star-studded throughout and on the sidelines. The runway came alive with a plethora of sculpted shoulders, chiseled structures, and oversized coats cinched with rounded belts, evoking a sense of motorcycle race-inspired chic.
Neutrals dominated the palette, offering a timeless canvas for the sculptural trousers, two-in-one pieces of around the shoulder jumpers, and tailored shorts that epitomised contemporary sophistication with a twist. Garments were meticulously crafted to enhance and amplify natural curves, employing draping and excessive fabrics reminiscent of sculptural masterpieces. A mischievous nod to Cruella de Vil in Dalmatian-print was evident in some jackets, while signature mini skirts and fitted dresses exuded minimalism with a distinctive flair.
The collection transpired a sense of fluidity and movement, with body-hugging silhouettes adorned with sculptural belts, veils, and capes. Form followed function, mirroring the shapes depicted in primary colours of Miró paintings as models walked past them. In the courtyard, the models’ haughty demeanour mirrored the splendour of Giacometti statues, infusing the presentation with an air of avant-garde elegance.
Materials ranged from fluid mousseline to textured knit jacquard, while finishes and embroideries added a crafted touch to each ensemble. Ladylike dressing was reimagined with absurdist twists, while men’s thong sandals integrated half-socks as a trompe l’oeil.
The accessory lineup was equally alluring, with streamlined handbags and innovative designs that challenged conventional notions of style. Each piece, from “Le Calino” to “Le Vanity,” showcased a blend of sophistication and ingenuity that mirrored the ethos of the collection.
The finale, a gauzy silk mousseline white dress, thermoformed on a squared moulded bust, and a sweeping veil, paid homage to traditional bridal attire, symbolising the culmination of the couture journey. Its ceremonial elegance resonated with the timeless sculptures at La Fondation Maeght, transcending fashion to become a piece of art in its own right.
JACQUEMUS’ newest collection was not merely a showcase of fashion; it was a testament to the enduring intersection of art and creativity, where boundaries dissolve, and imagination reigns supreme.