Enfants Riches Déprimés unveils its S/S 2018 pre-collection at Christie’s Paris, the first time in which a fashion house has shown at the historic auction house, founded in 1766.
The location serves as an adequate setting for a definitive moment of Enfants Riches Déprimés, in which Henri Alexander’s concepts are displayed without compromise nor restraint. The runway travels through the various Matignons of Christie’s, wherein each room is curated with Henri Alexander’s paintings—a series of massive valet tickets and psychological process diagrams attacked by violent and naïve gestures.
Scribbles juxtaposed on fine tailoring, the paintings, which have been on display at Christie’s for days prior to the show, fill the pacing on the runway.
Textures of silver chains and reconfigured 18th century antique brooches—binding this season’s suiting and ready-to-wear—act as functional assemblage, luring you into relapses of Neoclassicism and outbreaks of savagery. A story is told—a final dichotomy—with lonely silhouettes of a boy and chain—beautifully knit in collaboration with Loro Piana—peeking out between looks of spring pastels and shades of black, similar to a de Kooning.
Henri Alexander’s paintings, garments, references, and setting create a prolific collage of regression, coupling luxury with the fine art function: the tragic only child of capitalist realism, neo-Dadaism and the refined unconscious mind.
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