For her first Paris presentation, Shanghai-based designer Fang Chen Wang wanted to address the contradictions that exist within each individual, such as being gentle but strong, an optimistic cynic – or a menswear designer who also projects women’s looks. Is.
The idea was to use transparency effects and cutouts as a sartorial metaphor, injected into further exploration of the designer’s deconstructed menswear.
Having introduced more extravagant styles via a Metaverse presentation earlier in the week freed Wang to present a reliable wardrobe that made substantial use of her sewing skills.
This included a patchwork suit composed of deadstock elements; Another looked like it was sliced into pieces from an oversized jacket and repurposed for a cropped blazer and shorts; A third that had vintage leanings, except for transparent sleeves and tuxedo stripes.
Earthy tones and soft blues were the season’s dominant colors, while Swarovski elements, another name added to Wang’s expanding roster of collaborations, added a layer of sophistication to her newly introduced measure-by-measure offering. Was with
A recurring phoenix figure, used for symmetry with Wang’s first name, was blown up to XXL proportions as a symbol of “dreaming of big things,” Wang said. The resulting curves looked abstract and featured extensively on knitwear, a category that was significantly expanded this season and included a twinset with long-sleeved tops, matching trousers, a minidress, and a sleeveless vest. was.
A floor-sweeping knit gown will be part of the measured-to-measure offering, because “you can’t really wear this on the daily,” said the designer, as will a denim bustier dress dotted with crystals.
Four looks from her upcoming collaboration with Canada Goose were also presented, including a print by Chinese artist Xu Zhen, slated to drop in October.
Their separable elements made them feel adapted to a range of weather conditions and social occasions. Shown with light summer styles, they were yet more examples of the designer’s able hand in creation and her aesthetic range.
Originally published at Pen 18
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