“I want contemporary air,” Guillaume Henry declared. “I wished one thing very enthusiastic, pleasant, lovely, all about magnificence and trend—and contemporary.” Brief (principally) and in sugar-sweet pastels or graphic monochrome patterns, the Patou assortment was named Pleasure, extra for the vibe of the phrase than for the identify of Jean Patou’s 1929 fragrance, he mentioned. (A swift web search says this wonderful scent, which required 28 dozen roses per bottle, is not being produced.)
It’s humorous to see how Henry channels the Nineteen Eighties and ’90s by placing younger women in summer season tweed miniskirt fits and quick cocktail clothes. He mentioned he’d been wanting again on the unimaginable work Christian Lacroix did for Patou, and at Karl Lagerfeld’s stint there earlier than that. There on the board had been trend photographs of Lacroix’s fashions guffawing in his exuberant neo-Edwardian frou-frou polkadots and flower prints.
Henry’s homages had been way more toned-down than the really joy-filled escapades of the ’80s. He was at his finest when he went for taffeta poufs and large inflated bows apparently floating behind the fashions’ heads.
