Eyes wide open. For anyone swallowed into the familiar FWT, aka Fashion Week Tourbillon, consider this as your revival card — hard techno pounding and skin on display. C.R.E.O.L.E ‘s creative director, Vincent Frédéric-Colombo, is here to disrupt our visual grammar into confrontational elements. Underwear worn as contemporary armor. Shirts pulled tight, rude boy attitude intact.
This collection approaches the late 1960s UK skinhead movement the way memory surfaces — in fragments, sensations, and half-remembered images. Before the distortions. Before ideology altered the silhouette beyond recognition. The torso is bare, sculptural, unapologetic — skin doing the talking. As a personal inheritance, the designer transposes the body as a point of origin, redefining proportion, tension, and structure. A mad crush for the molded, high-gloss latex chest piece, more committed to the silhouette than my last relationship. The contrast is intentional; oversized motocross boots and workwear trousers anchor the look into its structural form, slightly theatrical.
The conversation shifts toward distortion and layering. A black bomber jacket with exaggerated ruffled panels slices across the chest and arms, soft volume counter-balancing military structure. The hakama-inspired pants—long, wide, and skirt-like—distort traditional masculine proportions. Tartan boxers peek out beneath, recalling the way skinheads wore their trousers low: a rebellious, layered streetwear gesture, a nod to subcultural history and our current youth attitude. Emotional cadence and careful juxtaposition guide the look. Sheer, fitted tops meet cropped, tailored jackets, while a matching bomber and all-brown satin shorts create unexpected harmony. Across the collection SK1N, underwear becomes outerwear, and the body remains central — exposed, framed, and never neutral. C.R.E.O.L.E confronts how aesthetics outlive their origins, how silhouettes get stolen, rebranded, emptied, and refilled.
