(Editor’s Note: With the news that STL has acquired the Christian Lacroix brand, we’re taking a look at the designer’s Fall 1989 couture show. Presented in Paris on July 23, 1989, it was shown walking the Vogue runway Has been digitized as part of an effort to document the history of the fashion show.)
For several years, there have been signs of a colorful, high-maintenance, euphoric ’80s revival — and I’m all for it. But despite doggedly following breadcrumb trails, the trend never reached critical mass. Now, depending on many factors—one’s word Metropolitan-Themed birthday party at new NYC hot spot Chez Margaux, Christian Lacroix’s vintage dresses spotted on the red carpet, football padded shoulders spotted circulation Among them the Christmas party, and Trump’s second presidency – that may be set to change.
The opening of Lacroix’s Maison de Couture in 1987 – the first established since Yves Saint Laurent – sent the trajectory of brutal opulence in the direction of the (historical) imagination. After all, the Arlesian designer had come to Paris hoping to become a curator. “I remember I loved adding velvet to everything,” she said in a recent email. Lacroix is justifiably held in sartorial reverence, but he couldn’t do everything. His sporting spirit is strong in this collection. Look carefully, and you’ll see her applying a layer of fairy dust to everyday wardrobe items. Biker shorts were made of lace, jeans were decorated with floral decorations, and a satin and velvet boilersuit peeked out from under a voluminous gray fur coat.
circulationAndre Leon Talley wondered at the time whether many of the women who had ordered Look 47, which featured a full gala skirt with a drawstring sheath, would show up at the same party. The designer’s “witty orange satin dinner dress, cut like a denim skirt” (Look 37), said Talley, “was inspired by Anne Bass’s request last January for a short evening skirt.” Lacroix, meanwhile, shared that an embroidered bohemian maxiskirt was inspired by a skirt she found while working in Madrid. carmen Produced in the Nîmes region a few months ago, “with sequins on old cotton flowers and wool.”
The trio of final dresses consisted of ethereal tulle apron skirts that opened in the center front to reveal an underdress. With its velvet corset, bejeweled leggings and graduated flounces, the final number reimagined a can-can dress in a gorgeously post-modern way.
