{"id":6988,"date":"2026-10-21T14:56:56","date_gmt":"2026-10-21T12:56:56","guid":{"rendered":"https:\/\/leherpeurparis.com\/?p=6988"},"modified":"2026-10-21T14:58:08","modified_gmt":"2026-10-21T12:58:08","slug":"exercice-de-style-ou-comment-la-repetition-exacerbe-la-creativite","status":"publish","type":"post","link":"https:\/\/leherpeurparis.com\/en\/prospective\/exercice-de-style-ou-comment-la-repetition-exacerbe-la-creativite\/","title":{"rendered":"Exercice de style, ou comment la r\u00e9p\u00e9tition exacerbe la cr\u00e9ativit\u00e9 ?"},"content":{"rendered":"\n
\"Exercice
\u00a9<\/strong><\/em> Dries Van Noten, SS27<\/a><\/figcaption><\/figure>\n\n\n\n
<\/div>\n\n\n\n

Comment la contrainte et la r\u00e9p\u00e9tition s\u2019imposent sur les podiums pour r\u00e9inventer la d\u00e9sirabilit\u00e9 du luxe.<\/h2>\n\n\n\n
<\/div>\n\n\n\n

Dans une atmosph\u00e8re o\u00f9 le renouvellement effr\u00e9n\u00e9 des tendances, la surconsommation d’images et le jeu de chaises musicales des directeurs artistiques imposent un bruit de fond permanent et dictent les choix cr\u00e9atifs; une trajectoire inverse s’affirme. Face \u00e0 l\u2019envie de nouveaut\u00e9 irr\u00e9sistible, certains cr\u00e9ateurs choisissent d\u00e9lib\u00e9r\u00e9ment de resserrer leur focale.<\/p>\n\n\n\n

\n

\u00ab La r\u00e9p\u00e9tition n\u2019est pas l\u2019ennemi de l\u2019invention mais son outil le plus puissant. <\/em>\u00bb \u2014 <\/p>\n\n\n\n

Luca Di Stanio<\/strong>, Head of Design Womenswear chez Prada<\/em>.<\/p>\n<\/div>\n\n\n\n

Cette intuition s’inspire directement de la d\u00e9marche litt\u00e9raire de Raymond Queneau<\/em>. En s\u2019imposant d’\u00e9crire 99 fois la m\u00eame sc\u00e8ne sous des formes diff\u00e9rentes<\/strong>, Queneau ne cherchait pas la redondance, mais la d\u00e9monstration par l’absurde d’une infinit\u00e9 de possibles. Sur les podiums des derni\u00e8res Fashion Weeks, l’exercice de style est devenu une m\u00e9thode de r\u00e9sistance cr\u00e9ative<\/strong>. Loin d’ass\u00e9cher l’imaginaire, la restriction \u2014 qu’il s’agisse d’une mati\u00e8re unique, d\u2019une gamme couleur resserr\u00e9e ou d’une pi\u00e8ce obsessionnelle \u2014 exacerbe et \u00e9chauffe l\u2019inventivit\u00e9<\/strong>. Le r\u00e9cit d\u2019une m\u00eame histoire ou le traitement d\u2019un m\u00eame sujet, silhouettes apr\u00e8s silhouettes, sont le nouveau souffle de la cr\u00e9ation<\/strong>.<\/p>\n\n\n\n

D\u00e9monstration sur les podiums \u2014 six manifestes de la r\u00e9p\u00e9tition :<\/p>\n\n\n\n

<\/div>\n\n\n\n
\n
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L’obsession typologique de la jupe genou \u2014 Prada<\/a><\/strong><\/strong><\/strong><\/strong><\/strong><\/strong><\/strong><\/strong><\/strong><\/h3>\n\n\n\n

Miuccia Prada<\/em> et Raf Simons<\/em> font de la jupe, arr\u00eat\u00e9e avec une pr\u00e9cision \u00e0 la longueur genou, le sujet d’\u00e9tude de la collection SS27<\/a>. Historiquement codifi\u00e9e comme une \u00ab longueur de dame \u00bb bourgeoise ou conventionnelle, cette coupe devient ici la grille de lecture unique \u00e0 partir de laquelle se d\u00e9ploie toute les silhouettes. Plut\u00f4t que de chercher la nouveaut\u00e9 dans la rupture structurelle, le Studio explore la d\u00e9clinabilit\u00e9 infinie<\/strong>. La jupe est retravaill\u00e9e \u00e0 travers des variations de formes, des permutations de mati\u00e8res (du cuir rigide \u00e0 la soie a\u00e9rienne), ainsi qu’une superposition de d\u00e9tails, de finitions et d’imprim\u00e9s en contraste. En r\u00e9p\u00e9tant cette m\u00eame m\u00e9trique silhouette apr\u00e8s silhouette, Prada montre qu’un produit du quotidien, lorsqu’il est abord\u00e9 sous l’angle de l’obsession typologique, devient l\u2019outil d’une cr\u00e9ation libre et affranchie<\/strong>.<\/p>\n<\/div>\n\n\n\n

\n
\"Exercice
\u00a9<\/strong><\/em> Prada, SS27<\/a><\/figcaption><\/figure>\n<\/div><\/div>\n<\/div>\n\n\n\n
\n
\n
\"Exercice
\u00a9<\/strong><\/em> Chanel, SS27<\/a><\/figcaption><\/figure>\n<\/div>\n\n\n\n
\n

La mati\u00e8re comme laboratoire sans fin \u00a0\u2014 Chanel<\/a><\/strong><\/strong><\/strong><\/strong><\/strong><\/strong><\/strong><\/h3>\n\n\n\n

Ici, l’exercice de style ne porte pas sur la forme, mais sur la r\u00e9invention technique et visuelle d’une mati\u00e8re patrimoniale. Le tweed <\/strong>est abord\u00e9 non pas comme un h\u00e9ritage fig\u00e9, mais comme un support d’exp\u00e9rimentation plastique permanente. Silhouette apr\u00e8s silhouette, la mati\u00e8re subit une s\u00e9rie de mutations <\/strong>: elle est sur-imprim\u00e9e pour troubler le motif d’origine, smok\u00e9e pour en modifier le relief, ou encore travaill\u00e9e en d\u00e9clinaisons de carreaux jouant avec des jeux de transparence. L’introduction de fils iris\u00e9s ou m\u00e9tallis\u00e9s vient modifier la r\u00e9fraction de la lumi\u00e8re et la densit\u00e9 du textile. Cette r\u00e9p\u00e9tition m\u00e9thodique met en valeur la virtuosit\u00e9 technique des Ateliers et offre la preuve qu’un classique n’a pas besoin de renier son identit\u00e9 pour insuffler un nouveau souffle \u00e0 la cr\u00e9ation.<\/strong><\/p>\n<\/div>\n<\/div>\n\n\n\n

\n
\n

La ma\u00eetrise du \u00ab clash organis\u00e9 \u00bb \u2014 Dries Van Noten<\/a><\/strong><\/strong><\/strong><\/strong><\/h3>\n\n\n\n

Chez Dries Van Noten<\/a>, la r\u00e9p\u00e9tition ne s’applique pas \u00e0 une pi\u00e8ce ni \u00e0 un textile unique, mais \u00e0 un proc\u00e9d\u00e9 cr\u00e9atif rigoureux. La confrontation syst\u00e9matique des motifs. L’exercice de style prend la forme d’un \u00ab clash organis\u00e9 <\/em><\/strong>\u00bb, o\u00f9 chaque passage sur le podium repose sur l’assemblage d’imprim\u00e9s en contradiction (floraux g\u00e9om\u00e9triques, rayures graphiques, motifs abstraits). Plut\u00f4t que d’att\u00e9nuer ces frictions, la collection en fait sa r\u00e8gle de composition<\/strong>. \u00c0 travers cette it\u00e9ration continue, le Studio construit des collages vivants o\u00f9 des harmonies paradoxales finissent par \u00e9merger. Le geste cr\u00e9atif d\u00e9montre une aisance singuli\u00e8re dans le traitement de la complexit\u00e9<\/strong>.\u00a0<\/p>\n<\/div>\n\n\n\n

\n
\"Exercice
\u00a9<\/strong><\/em> Dries Van Noten, SS27<\/a><\/figcaption><\/figure>\n<\/div>\n<\/div>\n\n\n\n
\n
\n
\"Exercice
\u00a9<\/strong><\/em> Max Mara, SS27<\/a><\/figcaption><\/figure>\n<\/div>\n\n\n\n
\n

L’arch\u00e9type reconstruit<\/strong><\/strong><\/strong><\/strong><\/strong><\/strong><\/strong><\/strong> \u2014 Max Mara<\/a><\/h3>\n\n\n\n

Max Mara<\/a> choisit d’ancrer toute sa d\u00e9monstration dans la d\u00e9construction et la d\u00e9clinabilit\u00e9 d’un arch\u00e9type de la saharienne<\/strong> ultra-cod\u00e9. En faisant de ce v\u00eatement d’origine militaire le point de d\u00e9part de la collection, la marque s’impose une contrainte formelle. Tout le vocabulaire de la saharienne \u2014 la poche cargo \u00e0 soufflet, la patte d’\u00e9paule et la taille ceintur\u00e9e<\/em> \u2014 est d\u00e9compos\u00e9 puis d\u00e9clin\u00e9 sur l’ensemble du vestiaire. Les proportions sont \u00e9tir\u00e9es, les mati\u00e8res fluidifi\u00e9es et les volumes restructur\u00e9s pour cr\u00e9er un dialogue entre une architecture rigoureuse et le confort. Par la r\u00e9p\u00e9tition de cette structure utilitaire, Max Mara d\u00e9montre qu’un v\u00eatement-totem poss\u00e8de la plasticit\u00e9 n\u00e9cessaire pour fonder une garde-robe compl\u00e8te et intemporelle.<\/strong><\/p>\n<\/div>\n<\/div>\n\n\n\n

\n
\n


La redondance hypnotique de l’h\u00e9ritage<\/strong><\/strong><\/strong><\/strong><\/strong> – Saint Laurent<\/a><\/h3>\n\n\n\n

Sous la direction d’Anthony Vaccarello<\/em>, l’exercice de style prend la forme d’un c\u00e9r\u00e9monial o\u00f9 la r\u00e9p\u00e9tition est le moteur de l’attraction.<\/strong> Saint Lauren<\/a>t ne cherche pas \u00e0 renouveler son vocabulaire mais \u00e0 l’amplifier jusqu’\u00e0 la saturation<\/strong>. La collection s’articule autour de la r\u00e9it\u00e9ration quasi obsessionnelle des ic\u00f4nes de la maison : lignes d’\u00e9paules ac\u00e9r\u00e9es, draperies liquides, opulence des textures et glamour t\u00e9n\u00e9breux. Sur le podium, cette redondance est orchestr\u00e9e selon un rythme hypnotique. Chaque silhouette reprend et affine les codes de la pr\u00e9c\u00e9dente, cr\u00e9ant un effet d’\u00e9cho et d’accumulation visuelle<\/strong>. En refusant la dispersion et en assumant pleinement la r\u00e9p\u00e9tition de son h\u00e9ritage, la maison ne tombe tout de m\u00eame pas dans la nostalgie.\u00a0<\/p>\n<\/div>\n\n\n\n

\n
\"Exercice
\u00a9<\/strong><\/em> Saint Laurent, SS27<\/a><\/figcaption><\/figure>\n<\/div>\n<\/div>\n\n\n\n
\n
\n
\"Exercice
\u00a9<\/strong><\/em> Celine, SS27<\/a><\/figcaption><\/figure>\n<\/div>\n\n\n\n
\n


<\/strong><\/strong><\/strong><\/strong><\/strong><\/strong><\/strong>
La po\u00e9tique du cama\u00efeu et du \u00ab beige \u00e9vident \u00bb<\/strong> \u2014 Celine<\/a><\/h3>\n\n\n\n

Celine<\/a> explore l’exercice de style \u00e0 travers la r\u00e9duction chromatique et l’\u00e9tude des micro-variations<\/strong>. La collection prend comme point de d\u00e9part le \u00ab beige \u00e9vident<\/em><\/strong> \u00bb et la famille des tons neutres, appliqu\u00e9s \u00e0 une pi\u00e8ce centrale. L’exercice repose sur la recomposition du quotidien \u00e0 partir d’une palette volontairement restreinte. \u00c0 travers une s\u00e9rie de compositions en cama\u00efeu, la marque fait varier les nuances sourdes (sable, mastic, camel, gr\u00e8ge<\/em>) et les textures pour cr\u00e9er une allure en apparence spontan\u00e9e. La monotonie est \u00e9vit\u00e9e par l’introduction d’\u00ab accidents<\/em><\/strong> \u00bb de couleur calcul\u00e9s ou de ruptures de coupes subtiles qui viennent r\u00e9veiller la silhouette. Michael Rider<\/em> d\u00e9montre que la simplicit\u00e9, lorsqu’elle est travaill\u00e9e avec une rigueur obsessionnelle, devient une forme aboutie de la modernit\u00e9.<\/strong><\/p>\n<\/div>\n<\/div>\n\n\n\n

<\/div>\n\n\n\n

Envie de poursuivre la r\u00e9flexion ?<\/strong><\/strong><\/h2>\n\n\n\n

Venez en savoir plus sur nos savoir-faire prospectifs<\/strong><\/em><\/strong>.<\/p>\n\n\n\n

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CONTACTER LEHERPEURPARIS<\/a><\/div>\n<\/div>\n\n\n\n
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\"\"<\/figure>\n<\/div>\n\n\n

<\/p>\n","protected":false},"excerpt":{"rendered":"

Comment la contrainte et la r\u00e9p\u00e9tition s\u2019imposent sur les podiums pour r\u00e9inventer la d\u00e9sirabilit\u00e9 du luxe. Dans une atmosph\u00e8re o\u00f9 le renouvellement effr\u00e9n\u00e9 des tendances, la surconsommation d’images et le […]<\/p>\n","protected":false},"author":3,"featured_media":6989,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"footnotes":""},"categories":[155,154],"tags":[39,44,53,195],"class_list":["post-6988","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-prospective","category-style","tag-fashion","tag-fashion-week","tag-luxe","tag-prospective"],"acf":[],"yoast_head":"\nL'\u00c9conomie de la Soustraction, une nouvelle posture du d\u00e9sir | LeherpeurParis<\/title>\n<meta name=\"description\" content=\"Analyse prospective : comment Prada, Chanel ou Saint Laurent r\u00e9inventent l'exercice de style en faisant de la r\u00e9p\u00e9tition un puissant levier cr\u00e9atif.\" \/>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, 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