Let’s get this out of the way so no one is left wondering: The black pumps worn with several looks in these photos were an unfortunate consequence of Jourden’s intended footwear—the boots shown in a few photos—not being ready in time for today’s Paris presentation. They’re not unsightly, but one must try to resist letting them alter the impression of designer Anais Mak’s latest creations. She put considerable thought into them, evidently determining how to coax an unfamiliar result from familiar codes of feminine dress.
More than in previous seasons, Mak played up the metallic aspects and transparencies this time to reflect what she called an “elevated reality.” Presumably, this referred to the copper embroidery outlined in black against a sheer cobalt backdrop which looked from afar as though it was glowing; or else the material that seemed like a cross between aluminum foil and taffeta but is actually a double-face coated windbreaker fabric. The ladylike red skirt encircled with a semi-detached ruffle was akin to a candy wrapper. With its randomized pattern, yet traditional technique, a specially developed swirling lace made a striking impact that Mak should pursue going forward.
The Hong Kong–based designer loosely cast the collection under a Baroque theme, allowing her to go a bit gaudy with a paisley brocade and patterned knits—a robe coat over knit knickers and striped T-shirt being the cheekiest example. What Mak might want to keep in mind as she gains confidence is at what point some of these stylistic twists go to the dress-wearing-you dark side. Moreover, the fact that so many looks were styled with fishnet knit polos and nothing underneath didn’t mesh with reality, elevated or average. That said, there aren’t many designers toggling between polish and fetish; Mak also demonstrated how much room there is in between.
