Haider Ackermann RTW Fall 2017 review – Paris

Fashion will always hold that statement as it’s sole purpose to reveal a mirrored expression of desire.  As referenced by the famous French psychotherapist Jacques Lacan who phrased this phenomenon the objet petit a, as a deliberately untranslatable term, with it’s meaning referring to the ‘desire of the other’.  As designers of high end fashion such as Haider Ackermann there is that desire to represent and expose their refection of the self, which could be seen as a portrayal and duality of appearances. Haiderman once again (please refer to Haider Ackermann. Paris Fashion Week Spring/Summer 2017 ) has created a statement, that, if you study closely, maybe revealing of trends and styles that fall within the feminine and it’s interest in the masculine.  That has constantly been confused in fashion with the term unisex, which is an incorrect and in someways misleading terminology.  Androgynous, as a fashion perspective, is a clear projection of fluidity of the female form, that can easily incorporate and be influenced by male styles.   Very rarely can this be achieved in reverse, with male fashion influenced, or embracing feminine styles – as a notion it has more appeal within costume design and it’s associated novelty.

Haider Ackermann is a master when it comes to clean and sleek cuts.  Beautifully fitted and presented on the models.  Exceptionally well structured array for his ready-to-wear  Fall 2017 collection with intermixed modernist styles, utilizing fine wool blends to complement neatly deconstructed formal looks.  Ackermann, despite the serious and somber impact of this collection, shows the remnants of femininity with silk underlays and tops.  With only one ensemble represented being the blue patterned two-piece silk ‘suit’.  His combination of Mongolian lamb furs and leathers to modernist looks only solidifies that rugged sex appeal of the female embracing the masculine.  Also noted were the models short and dyed black styled wigs with cropped fringes.  A boyish look that is purely, as discussed, the female portrayal of the androgynous – a sophisticated sex appeal.  This is Haider Ackermann’s intended mirroring of the ‘other’ in it’s latent desire, that is, paradoxically, the alluring reflection of the feminine.

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