Jacquemus took place in a giant warehouse space that felt like the size of a plane hanger at the very edge of the Northeast of Paris. Guests entered the venue—which was very dark save for one circular beam of light at the center—at 20 Avenue de la Porte de la Villete to find two rows of circular seating in the far right.
As the show began, out rolled a giant red ball of fabric pushed slowly across the room by a small barefoot child in an oversized white dress shirt. What followed were looks in three colors: white, red, and navy. Mostly, it was a take on suiting and dress shirts that were deconstructed into dresses, one-shouldered tops, and one-legged pants, and bits of a suit jacket done as a skirt, or a tie worn as a barely there bandeau. If it looked like a designer gone mad in the atelier, sewing together leftover or half-done clothing to make a collection, it was intended as such.
The dreamlike madness of the show was spelled out for the audience in pre-show notes written in French. The show was called “Le Nez Rouge” or the “Red Nose” and describes a child working with a bloody red nose, and the disoriented or cutting sequences of a dreamlike state. “A man and his white horse. The pictures in a dream. A child and a tie…grand, giant almost. Three little points, white. Generic.”
To that end, Simon Porte Jacquemus himself walked across the room mid-show, wearing a white outfit and leading a white horse, apparently as a grown version of the child. Later, the child laboriously dragged a giant red tie across the room, falling occasionally in the struggle.
Jacquemus was recently the winner of LVMH’s young designer competition, and has been cited by retailers as “one to watch.” But this season, the designer seemed to be expressing the challenges he is facing under all the scrutiny—a recent theme amongst designers both new and established, thanks to the ever-increasing speedy demands of the industry.