Choosing a presentation on a catwalk show for Ghani spring was not only unexpected; It was certainly a even more rebellious step than jumping from the Copenhagen calendar-where the brand is known for its blow-out show-for a paris one. “I think every time people do something that is a bit unexpected, it’s just interesting,” said Creative Director Dette Refastroop. Choosing this method of showing, he explained, “There was a big change, and we are not saying that we are not going to go back to the runway, but this is our third time in Paris and everything is on such a fast track. I really wanted to try to slow down this collection.
Visitors for the exhibition at an industrial building, an industrial building for the 19th century, were congratulated by wooden effigies standing among the flowers. A Swapnil film was played behind him, which means that the summer was created in the past, captured in blurred images such as seen from a moving vehicle- “a dream piece,” as the designer said. There was a wall of the bag at the top of the stairs and the collection was presented on the other floor, again on wooden effigies, dramatically short styled. Nevertheless, the pieces rejected the hope.
Rafastroop was pushed forward with floral prints launched in the previous season, and a leopard was added: he said that they catch the spirit of passing time, and the way memory changes things. This season’s double-belted trench had an extraordinary pan-like volume; The size of its bell was of a tulip, keeping in mind the desire of the refreshment to detect the “The Flower Universe”. Crochet pieces looked heavy with dense coordination of flowers on denim, and dimensional bloom; Less literally fragments such as flowers were more sophisticated and less than the hands that reduced the spirit of the house. “Posi,” Gunni took a horticulture on a bag, looked ready to be a hit. A khaki dress in recycled patent was smiled in such a way that normal pakis took the form of flowers. A white printed dress was given a crinkle treatment, so it was similar to peeling wallpapers, a kind of manifestation of those dreams that the designer mentioned. “I am always a very indifferent person, but especially when the world is a little rocky or noisy, I am always craving to go back. So the entire journey of this collection has really been to dive into childhood memories,” said Refastroup, said, who passes the birth of its creativity in a beach city in Jatland during the days of summer.
The clogues were the most distinctive scandi elements. Some monochromes looked; These included a drop-cam gray dress, and its cybbing, tops with an off shoulder button, lined into a print fabric with jeans. The Nordic region is known for layering, but what was on the show was completely a different kind, in which Bando Tops were worn everything from a red satin dress to a crinkled organna jacket. Most appear that the scarf is shown that fell from the shoulder straps, or otherwise embraced the body. Refastroup said, “I think there are many seasons now, where all of this has become very silent and simple, and I need to search a more feminine side,” This, adding, “to make sure that there is no dressing for a man, it is really ready for you.”
There was also another dress-up aspect for this collection, also: to stand in front of a mirror, often in borrowed clothes, and not only to adjust the fit, but also make them knot and belting as a way to reach someone’s personal style. There was a physicality for many pieces, which were drawn and tied, which was really best appreciated and personal.
