There’s something about the Sandro lookbook images that recalls the recent Balenciaga campaign—the Paris street captures, for starters. Here, though, the models are neither accompanied by bodyguards nor shielding themselves from the off-camera paparazzi. These girls carry coffee cups—a faux pas until recently—and take the Métro; they are meant to be relatable not rarefied. The insouciant layering of long skirts over slouchy pants; the floral dresses with branded sport socks and unstylish running shoes; the message sweatshirts a few sizes too large; the plush coats meant to evoke vintage fur—much of this will register somewhat been-there-done-that to locals, but not to those at some remove from fashion’s capital. What’s funny is how all these sweatshirts and unsexy volumes still give off an ineffable je ne sais quoi, at least as depicted in these looks.
In the showroom, however, making heads or tails of the collection was less evident—especially with Evelyne Chétrite, Sandro’s founder and artistic director, absent from the walk-through. The theme offered up was Britannia-meets-Nashville, with supporting elements consisting of Black Watch tartan, scarf prints, and pearl trimmings juxtaposed with country-Western embroideries, bandana motifs, and plenty of denim. This mash-up of codes proved lively in some cases and contrived in others. Wide-wale corduroy blazers, V-neck sweaters encrusted with lace, and dresses that seemed to pay homage to librarians of yesteryear felt nicely polished as a counterpoint to the street sensibility and will keep the retail reach wide enough. As the lookbook attests, such a grab bag of statement pieces can be edited down and styled accordingly. In other words, the degree of trendiness is up to you.
