If it is sexy, in the stereotypical sense of the word, it will sell. That seems to be Julien Macdonald’s m.o., since so many of his dresses have a skin-to-cloth ratio that is so . . . well, favorable towards the former. His shows—Spring included—are more party-focused than professionally oriented, but then, Macdonald makes clothes for party people. That’s fine. And this season, his runway was par for the velvet rope course.
The unfortunate thing is that his aesthetic now, more than ever, feels dated and, at times, derivative of certain other houses. Sharp-shouldered, clingy, barely there, butt-baring, diaphanous; the illusion/nude/shock-value dress look is long in the past, a forgettable blip on the fad meter that doesn’t feel very “fashion” anymore.
But here’s the thing, as a showgoer reminded this writer afterwards, in an impromptu discussion: Macdonald’s client isn’t looking for trendy and of-the-moment. The man’s market is out there; he’s in business. If it’s working, it’s working. Yet from a critical perspective, it would be highly refreshing to see his workmanship—which is impressive—on garments that are less objectifying and loud and are, instead, more varied and interesting. Keep the flimsiness here and there, sure, but throw in a sweater. Macdonald can do knits. Rein in the ostentatiousness; style it without the hormonal charge. The same can be added for Macdonald’s menswear: He does evening, why not try it with a little more subtlety? Or, overall, treat vulgarity with more nuance; there’s a reason the phrase “bad taste can be good taste” exists. Unfortunately tonight, we left wanting a palate cleanser.
