Parade-Celine-ready-to-wear spring-summer 2017<

A multitude of women and attitudes;We are however good at Céline, no doubt.Only red - and commercial thread, but who to throw the first stone?- models of very 1950s rigid bags (clasp) and huge and flexible shopping bags (tote), which pass several times in various and varied leathers.The pointed ballerinas succeed without a state of mind at the heel tabis, the canvas tennis, the bridges with a flask with a tuxedo warmer warming up short leather pants and flare.An ethnic tweed dress, twisted in a navel -in -way Madeleine Vionnet.Then a Camel coat with frown Martingale, a shirt dress in front of behind, a leather cloak cracked and padded just retained by a sighter pin, a tailor-pantalon which exceeds a tulle hem, cotton night's shirts on boardfrightened inlaid with a macrame bra, perfect for a summer at the Maeght Foundation ... We are looking for the clues to decipher this imagination and this fertile cloakroom.Perhaps in the setting of the parade - a course made of curved walls in steel and semi -reflective glass - signed Dan Graham, conceptual artist of which Phoebe Philo has long been close.She has also written a quote from the American, about this work, on a cardboard placed in each seat: "I want to show that our bodies are linked to the world whether we like it or not.Another reference to art, this white canvas dress printed with indigo spots evoking the anthropometry of Yves Klein, which, during performance in the early 1960s, asked naked models painted in blue to mark their body footprinton paper.No doubt it would be better to request an art historian rather than a fashion journalist to interpret this season Céline this season, but the desire remains him in the first degree.Hélène Guillaume.

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