Perhaps so, but one rooted in a dark sensuality, albeit not unfamiliar to the designer’s oeuvre. His models were done up to glam perfection, their hair pulled into tight chignons, their lips, high-lacquer blood red. Pilati cloaked them in the trappings of aggressive femininity, reed-thin black silhouettes, cinched waists and liberal use of leather feeding their aura of woman-in-control. Jackets were strong-shouldered, often with demonstrative lapels, trousers and skirts, lean and ultrasleek. Pilati had recently used metal accents in his accessories, a concept he incorporated here into his clothes, determined to create “light [effects] beyond the cliché of sequins and embroideries.” The result, dresses in color-tinged mesh, was steamy fare for cool customers. Deepening the show’s deliberate sensuality: a Mapplethorpe-inspired calla lily motif, used for moody prints and sculptural 3-D jewelry.
If Pilati feels at all bitter over his treatment, he gave no indication on Monday night. “I accomplished what I’ve been asked to. I accomplished what I wanted,” he said. “I didn’t really see myself in 25 years at Yves Saint Laurent. It was an experiment, but I’m happy either way…
...Pilati stressed that he leaves with his integrity intact, and having left his mark on the studio. “My team responded very well to my influence and my needs, and in a high way. You can really feel it. People keep telling me that they’ve learned a lot, and that makes me really proud,” he said and added with a serious laugh, “I’m proud the house is profitable.”
--WWD, March 5, 2012
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