September 25, 2013 Paris
Except that this was not the collection's main message. Artistic director Marcel Marongiu looked to dystopic cinematic references—Gattaca, Metropolis, and David Cronenberg—rather than Rihanna off-duty. He cloned the diamond-shaped buttons on crisp white shirts so there were two rows, and he experimented with optical fiber as neo-fringe. He could have convinced us that the small white leather pieces puzzled and sewn together were the skin of an otherworldly animal. Marongiu was clearly focused on fabric innovation, but the stronger moments included the coats and gilets that were as amply shaped as they were buoyant in weight. Here was volume that looked forward, rather than the box-pleated dresses that looked back (to Laroche's sack silhouettes). Hemlines that curved with exaggerated effect, fabric that folded in on itself, and asymmetrically fastened blouses went against the natural—albeit unscientific—laws of how garments are constructed; some ended up too tinkered.
Laroche, an early colorist, might have wondered about the bilious yellow grouping that emerged midway through. Marongiu explained that he had been obsessed with the hue of the highly poisonous golden frog. Its scientific classification: P. terribilis. That kind of backstory doesn't auger well. Fortunately, the collection had the type of movement and form that will play well both on-screen and off.