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The unstated question entering the one-off collection of Lutz Huelle for AZ Factory was whether this fledgling fashion concept has a future or not. And the answer, judging from this collection, is a very definite, ‘yes’.
Huelle, a German who lives in Paris, is one of the most interesting indie designers in fashion, famous in a strange way for having his best ideas copied by many lesser talents. With this collection, it was about him respecting, and yet extending, the DNA of a house founded by the late great Alber Elbaz, a creator of clear and powerful codes.
Thankfully, the result was a balanced cocktail of Huelle’s street style, delicacy with denim and sense of rock n roll, married to the hipster grand couture of Elbaz, blended with the one virtual show Alber created for AZ Factory.
Though bankrolled by the deep pockets of luxury giant group Richemont, AZ Factory is very wisely managed like a start-up. Its atelier and offices are located inside the Cartier Foundation, Richemont’s most famous brand. And that is where they staged this show, before some beautiful works of demi-abstract Aboriginal art and watched by other amigos of the house, like Thebe Magugu, who have designed for AZ factory already.
Kicking off with The Undertones classic ‘Teenage Kicks’ on the soundtrack, Lutz sent out a great opening trilogy: snazzy, sleeveless tuxedo jacket, finished with black nylon ruffled elbows over denim shorts and boot that looked like one garment. Oversized blazer with denim mini and cool tuxe with embossed buttons. Lots of frayed trim, how Alber would have like it.
Referring to Elbaz as a “absolute icon” who created couture in a very easy manner, Lutz explained he wanted to “bring the street and rock-n-roll and a little drama to the clothes that should still look precious.”
Huelle worked with Elbaz’s “amazing team, and we became friends in two seconds,” determined on making clothes that worked in multiple contexts, and on different ages. He even took a joint bow with six of them.
Diamante crystals in most looks, from power boots and high heels, to posh-punk multi-strand necklaces. And simple but convincing ideas – like a back to front tuxedo shirt dress, with the placket on the back. Alber’s ruffled romanticism riffed on over a dozen looks with huge boss and swirls of fabric.
Though Huelle’s boldest idea were the techno floral camouflage prints, created from sketches and revamped on computers. Seen blurry, on men and women in nylon raincoats, pants, drapes and ruffles; or on country house ball gowns or even saucy cocktails. Only lament, we could have done with more than one version of the print.
All told, perhaps not an epic show, staged on a dank Monday night, but a telling vision of fashion’s future, and one that suggests AZ Factory has legs.
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