January 20, 2011 Paris
Where's the mastermind who wants to explain all that? Not here. But you wouldn't need him to appreciate the operative point of Vibksov's show, which is, of course, the clothes. The gangling Dane has long favored runway presentations as performance art—not many seasons ago, he used the forum to tell an imagined fable about the death of a farmer's donkey—but they tend to overstate the impossibility of the fashion. In fact, The Eat found Vibskov in quite wearable territory. His preferred silhouette of oversize, blousy tops and jackets and tapering, drop-crotch pants endures. But for Fall, he toned down his palette and used print sparingly. Jackets boasted irregular lapels, some migrating to the middle of the garment in geometric points, others rounded into soft curves. Coats were blown up to become billowing poncho capes. But one of the key—and finest—pieces was a multi-pocketed anorak that required no exegesis at all. Why ask why?