There's something undoubtedly childish about Jacquemus. The simple, imperfect shapes, bright, primary colors, and collaged fabrics are redolent to the silly cartoons in my French One textbook. (Except, perhaps, the skirts aren't so short in my French textbook.) The absurdity in the deconstruction adds a childlike feel to the whole collection, which makes for an interesting paradox when combined with the, shall we say, sparser looks. Never one to shy away from nudity, Jacquemus did seem to remember shirts this time, allowing merely a nip-slip here and there, which felt a bit too safe compared to last fall's clear nudity. To bring that infantile theme to a full circle, what better silhouette to end the show with than the circle? White, bandaged circle dresses had an element of artfulness on the six-foot-something matchstick models, but I doubt the result will be the same for the average consumer. The models clad in deconstructed suits stood in a circle facing the audience for the finale, looking like a cult of rebellious children who sneaked into Mummy and Daddy's closet to cut up their clothes and create their own masterpieces. And if the childlike theme wasn't drilled in enough already, Simon Porte himself stepped out at the end of the show with his seven year old cousin, Jean. (Oh, and a magnificent white horse; the stuff of childhood dreams.)
Photos via Vogue Runway.