It would probably have been too obvious to play hip-hop on the runway, even
though that music style, along with graffiti, propelled Felipe Oliveira
Baptista in such a dynamic direction this season. So much so, in fact, that
the word "swagga" appeared in his show notes.
This was not, however, an exercise in emulating any one artist, nor in
drawing too literally on rhymes or tags. It was, Baptista said after the
show, about a creative process that allowed him to "dissect, transform, and
put back together."
There was all of that and more—specifically, a kinetic interpretation of
camouflage that looked as though Baptista had passed an electric current
through the pattern and watched it shake. He also shook up his shapes and
his palette. The collection began tamely enough with a navy molded-shoulder
short-sleeve shirt and men's trouser. The solid army green and white looks
that followed foreshadowed the asymmetry to come—but first, a memorable
shirt in bonded leather and jersey boasting a flappy placket like a tie
spliced in half.
Colors arrived as an entourage, dominating the short shifts and unstructured
silhouettes. There was no going back. Hemlines became erratic, veering down
then curving back up, all in a single skirt. Meanwhile, leather pants based
on BMX uniforms were a rare example of pattern symmetry. With all this
graphic entropy, Baptista did not forget about fabric. The slickest: a blend
of silk and nylon that might have been more impactful without the print (Camo Variation 005, or something like that). A lot of effort went into such
deliberate chaos, and the result was fun enough. But Baptista the minimalist
is stronger than Baptista the maximalist.
As the creative director at Lacoste, Baptista shifts smoothly between the
collections, but it's difficult to tell which informs the other. A sporty
parka from this collection, minus the chopped and screwed hues, could end up
emblazoned with a crocodile next season.
But all the slashings and cutouts would not fly at Lacoste. In some
instances, Baptista added a printed fishnet underlay that indexed foreground
from back. "I liked the idea of showing the body, but not in obvious way.
Like innuendo," he explained.