While fashion week as we know it may forever be changed, brands are still finding ways to introduce their latest seasonal collections—whether in person or online. Here, we’re sharing what’s new from Mugler, Celine, and Raf Simons.
Mugler’s Spring/Summer 2021 presentation was unveiled through a short film by Florian Joahn and photographs by Carlijn Jacobs. Seen as a clash between Mugler’s past and present aesthetic, the new line resulted in a psychedelic vortex of scenes from both the physical and virtual realms. Joahn’s film portrays both French bourgeoisie and banlieue—ranging from images of Haussmanian salons to Manuel Núñez Yanowsky’s 1985 arènes de Picasso residential complex in Noisy-le-Grand. Featuring house models and new faces from Parisian suburbs, the film honors a global cast, introducing characters in Parisian skylines and interiors. The collection is full of trompe l’oeil fabrications that accentuate anatomical curves and master the play of transparency—an approach rooted in Mugler’s legacy. Highlights include: a blush segmented jacket over a black jersey dress, paired with a sheer sky-blue bodysuit and lime sheer spiral slingbacks; and a white illusion bodysuit with a matching crepe jersey skirt, worn over black sheer hosiery.
Courtesy of Mugler.
Celine‘s latest collection was also introduced in a film that sent messages of hope, youth, and optimism. Filmed in the Stade Louis II—a sports venue located in Monaco—the collection portrays a Gen Z Parisian with new, refreshing energy. The house’s designer Hedi Slimane took a modern look at the house’s bourgeois codes and married it with an iconic sporty look. With a sports track in the background, we saw models in new baseball caps and bucket hats, 1980s-style blousons with timeless blazers, glamorous sequined dresses, and a fresh take on the house’s ladylike Sulky bag.
Raf Simons presented his recent collection through a short film, as well, entitled Teenage Dreams. Set in a dystopian scene of multicolored trees and flowers, the collection drew inspiration from a variety of movies, like Alice in Wonderland, Scream, The Breakfast Club, and Picnic at Hanging Rock. In Simons’s film, models emerged from holes in the walls to slowly crawl through the set, lay down on yellow mossy fluff, or stand up and stare into the camera. Abstract checkerboard patterns are seen mixed between swirls of colors, and some oversized sweaters, ski-style turtlenecks, rich graphic tees, hoodies, and coats were adorned with othematic pins, patches, and buttons.
Courtesy of Mugler.
