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Celine revives the aesthetics of the classic Parisian woman that Vogue venerated decades ago.
In his third presentation for the house, Hedi Slimane repeated the National Palace of the Invalids in Paris as the setting to unveil her new collection. This is a proposal that breaks with the controversy that had his debut in the French firm, which brought him a flood of criticism for “betraying the legacy” of Phoebe Philo, and is closer to Celine’s DNA. While the previous season was inspired by parties and the new wave, this time Slimane dives into the bourgeois. The sobriety and elegance that was hailed half a century ago has now been the source of inspiration for the designer.
Celine FW19 reintroduces the most classic garments with Victorian airs. The models wore culottes, pleated skirts, high necks and vintage blouses with lace. An elegance without stridencies that evoked in some pieces the aesthetics of horse riding typical of the upper classes. Long dresses and tweed jackets added femininity to the iconic woman made in Celine. All the models walked with aviator glasses that gave continuity to the looks and an enigmatic and chic point to the result. It’s not the only accessory with a strong presene on the catwalk – the hats, the handbag with the traditional logo of the house or the belt with golden buckle promise to become key pieces.
But despite the classicism of the time, a rebellious touch shone in some glam rock garments. Sequins, animal print and tight suits have interrupted the monotony without breaking with the identity of the collection, based on autumnal tones such as greys, ochres and browns. Black, this time, has been left in the background.
With this new collection, Hedi Slimane has completely changed the chip to adapt to Celine and avoid the horde of critics that already suffered a few months ago. And he has succeeded: this time, the industry’s erudites have been not only satisfied, but delighted with the designer’s new proposal and the return of the Parisian bourgeoisie.