CFDA Awards: 2011
But the means no longer guarantee
the virtue in deceit...
the virtue in deceit...
[ Haider Ackermann with U.S. Vogue's Hamish Bowles ]
This is a fairly good sign. The new adamant voice of seduction no longer
subscribing to the quiet reticence of the archetypal shadows. Smile for the cameras, Haider.
It is your time to shine.
With Saks' recent acquisition of his Fall-Winter 2011-12 collection, I feel Haider is handsomely poised for a lucrative next quarter. The A Thousand Kisses Deep show is also his most photogenic to date (with all of the necessary ruched metallic, high resolution shades of teal and burgundy)—all the more reason why it should single-handedly monopolize next season’s bout of high-end editorials. Its appeal after all not only lies within its subtext of an epistemic discussion but its unbridled, voracious romance that hits you like a clap of sensory thunder. Fashion has, I will admit, only made me cry a previous two times: Shalom Harlow being flanked by spray-guns in McQueen’s Spring-Summer 1999 collection and the showering of white rose petals during the finale of Tom Ford’s Bladerunner-esque Fall-Winter 2003-04 Gucci collection (both instances where a mechnical artifice was re-imagined into a viscerally human consciousness). You can add Haider’s Fall-Winter 2011-12 collection to that list, where the evocative, seemingly disquieting heartbeat that palpitated over the soundtrack was enough to blitzkrieg the senses to tears. Ostensibly, fashion needs a non-negotiable romance to look to when it can’t surrender or theoretically anchor its beliefs to anything else. How fortunate we are to have Haider to provide such abstract services.
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