There were minidresses pieced together from mosaics of brown leather lacquered to look like the Oriental screens in Vreeland's office; double-breasted blazers worn without pants that were cut from multicolor, metallic-shot jacquards; chiffon halter dresses in a burnished bamboo print; and more velvet, suede, and lamé than the editrix could wear in a year.
Rousteing made it all look modern with Balmain's trademark, sky-high hemlines and the boxy, masculine cut of his jackets. This time around the tailoring had a distinct Japanese look with obi belts, wrap closures, and sculptural, rounded sleeves. Pants could be second-skin tight, or loose and flowing in a directional sarouel style, which felt more Arabic. "I love to mix cultures—that's my thing," Oliver Rousteing said.
Good job...
