The Anaïs Jourden show was scheduled very close in both time and location to the Chanel show, which, under ordinary circumstances, would have made for an effortless transition from one to the next. But for obvious reasons, this was an exceptional—and emotional—morning, and it’s quite likely that people decided they needed space to process their feelings before plunging back into more fashion. Totally understandable. And yet, they happened to miss one of Anaïs Mak’s strongest and most focused collections to date.
While not explicit or even implied, certain Chanel traits stood out across several looks—whether the ladylike suit jackets, the ’20s-style drop-waist dresses, or the predominantly black-and-white palette. To hear Mak tell it, she wanted to tap into an early-’90s femininity that she feels is absent today: “It’s from my memory, but it’s not really nostalgic; to me, this was the ideal stereotype of a woman, and I just really miss it.” Thus, her shift away from a risqué ingenue message towards body-skimming dresses with high slits and bustier necklines in variations of lace (the slinky top and skirt in silver crushed lace were most winning). Skirts with side ruffles, second-skin lace pants, textured blousons, and oversize coats all contributed to a more sophisticated offering.
Still, Mak insisted that she designed this “neo-bourgeois” proposal with a youthful customer in mind—although one who potentially sees bondage wrapping in the elasticized contours of a dress, or who appreciates the subtle provocation of dotted swiss sheerness. “I want to find a voice that’s truly elegant that speaks to girls,” she said. There are other voices out there doing this, but hers resonated skillfully today.
