All articles tagged with #cathy horyn
Nicolas Ghesquière’s Spring 2027 Louis Vuitton collection at the Louvre’s Cour Carrée featured lightweight, minimalist garments and a futuristic set of floating concept car sculptures. While WWD praised the collection as a breezy departure from Ghesquière’s usual heavy silhouettes, The Cut’s Cathy Horyn criticized the show as underwhelming and disconnected from the broader fashion conversation.
Cathy Horyn argues Calvin Klein’s latest under Veronica Leoni is disciplined and minimal but lacks edge, especially next to Eckhaus Latta’s kinetic, sexy energy—slim silhouettes, crochet textures, and a J. Crew collaboration—that could define the New York spring shows. Michael Kors offers a solid but familiar set, while Maria McManus brings a Dublin-inspired romantic touch. Overall, Latta’s show is the season’s jolt of newness that Klein’s pared-down approach doesn’t quite match.
Cathy Horyn reviews Balenciaga’s couture debut by Pier Paolo Piccioli and finds it pompous yet purposeless, reviving Piccioli’s Valentino silhouettes with Balenciaga accents while offering little modern relevance, and noting that the garden-show setting and sweeping, movement-blocking garments feel more like a spectacle than a pointed couture statement.
Celine’s spring men’s collection, under Michael Rider, breaks from the Slimane era’s guardrails with a freer, almost uncanny mix—from skinny jeans and knitwear to parachute pants and twisted cardigans—expanding the brand’s story while staying recognizably Celine, a move that could reinvigorate luxury fashion.
Cathy Horyn reviews Dior’s Los Angeles cruise show staged outdoors at LACMA, with 900 VIP attendees and Hollywood-infused lighting and setting. Jonathan Anderson links fashion to cinema and film collaborations, citing Ruscha and Scotty Bowers, while headpieces by Philip Treacy add drama. The event exudes glamour and a compelling mood, aided by Cadillacs and masterful lighting, but the collection itself reads as uneven: standout Ruscha-printed shirts, yet many silk gowns feel shapeless or over-embellished. Overall, the show emphasizes atmosphere and celebrity-driven appeal over cohesive design, leaving readers with a sense of Chanel–Dior comparisons in a mood-piece rather than a fully satisfying collection.
Cathy Horyn praises Matthieu Blazy’s Chanel cruise collection in Biarritz for its dynamic, beach-ready take on Coco Chanel’s minimalism, blending daywear with resort silhouettes, knitwear, and logo detailing, while expanding Chanel’s legacy through inclusive casting and education-focused initiatives like the Villa de Larralde project.
Cathy Horyn applauds Matthieu Blazy’s Chanel show for advancing Coco Chanel’s legacy with wearable, accessible pieces—rugged ribbed knits reinventing the Chanel suit, printed tweed on silk, luminous embroidery, and a monochrome palette with iridescent accents—while framing Blazy’s work as a forward-looking, “under construction” chapter presented on a Grand Palais stage shaped by cranes, signaling Chanel’s continued evolution beyond the house’s traditionalism.
Cathy Horyn praises Jonathan Anderson’s Dior debut for blending girlie silhouettes with couture pomp, opening with a knitted Bar jacket over a multilayered embroidered miniskirt, set in a glass-enclosed Tuileries venue that frames wealth amid inequality while situating Dior among Burberry and Gucci for a fresh, decisive direction.
Cathy Horyn reviews Veronica Leoni’s third Calvin Klein collection shown on a circular runway at New York Fashion Week, noting Leoni’s aim to move beyond the founder’s 'cult of the body' toward 'hedonistic elegance' but finds the line overcomplicated and unfocused, with too many looks and inconsistent silhouettes that fail to offer a clear, exciting path for Calvin Klein post-Simons.