“Yeshwant Rao Holkar II, known as Maharaja of Indore, was an ever lavish disciple of the 1930s, or better, an aristocratic profile of unspoken opulence with noble honors dispersed in the houses of Paris. Avid to cross the world, his wealth had the capability to bedazzle. Clare Waight Keller caught the now-closed exhibition about him at the Musée des Arts Décoratifs and prompted amazed. No matter the avenue swung by, key fractions of designers are probing into the masculinity index, more occasionally than not, dithering on what’s attractive-yet-sexy-yet-bogus in relevance to the modern man. The bell chimes, showtime: it suddenly becomes a collision of styles (street prevailing), and the design becomes less “desirable” and much more “attainable.” Keller has had a positive remark in stretching an opportunity of uplifting the post-modernist generation, giving fashion a refreshing sense of growth, or better, birth. “It’s that kinda vibe” Hubert De Givenchy prized: a man infused by elegance and lasting lure. And that explains her sublime take on tailoring which was figure-bracing: we admire square-toed boots, swaggy blazers and structure, structure, and more structure. Pause it here: structuring errors caused by the frenzy “street” codes, nodding at a new wave of wilfulness in thinking (and making). Oversize tops with tapered trousers furthered in fascination.
Waight Keller’s purpose of redefining the modern man can be classed a forte, but what’s even more enthralling is that she failed not to reference a whole heritage that characterized her (leading-edge) spirit.” – Fuckingyoung.es
