Fifteen years, a dream, a house, ninety-nine steps, forty-seven looks, forty guests, twenty-five degrees: “The House” metaphor, point of departure and arrival, is the title of new collection by Jacquemus. Villa Malaparte on Caprithe masterpiece signed crosswise by Adalberto Libera, which is the synthesis of a driven, almost revolutionary Rationalism, halfway between function and imaginary, a very private retreat of the Tuscan writer and object of desire from the laying of the first stone by the group of excluded people to his attendance, or the world, with the sole reaffirmation away Social of its existence in the panorama of places of worship, has sent an entire system into a tailspin.
Casa Malaparte, Capri
The House, Jacquemus, Capri, Italy
With the excuse of an anniversary whose symbolic nature is the numbers on paper and the real need to establish a much more solid foundation than the bubbles that have made it grow exponentially only in recent seasons, the French designer looks back at his recent past, dresses him with precious memories of his formative years, and outlines the outline of a screenplay for the future. On the staircase of steps in red curtain that lead us to the terrace, they contrast from the blue/blue horizon of sea and sky merged in the enchantment of the Gulf of Naples, we saw the news and the archive of the maison.
The House, Jacquemus, Capri
The House, Jacquemus
“I decided to create my own brand after watching Le Mépris by Jan-Luc Godard, inspired by the beauty and modernity of his vision,” says Simon Porte. Here we are witnesses of that sense of nostalgia that is an inalienable property of Millennials: the 2000s have just begun and we have a teenager who, instead of watching Top of the Pops on MTV, takes refuge in films that belonged to his parents, if not his grandparents. The film that consecrated Brigitte Bardot’s rising star in 1963 is a drama of resentment, silence and death; the long narrative cuts of the various long shots artfully recomposed by the director paradethe sweet, languid light, the carefully studied and false wardrobe nonchalant, which in Jacquemus’ 2025 we find casually mentioned also on the male silhouette, are nothing more than the tricks with which the Nouvelle Vague circumvented the harshness of its present. Today they seem to indicate a desire to escape towards a psychologically reassuring dimension – the past of social and political struggles, sweetened through the aesthetics of the films that tell us about it, is less scary than contemporaneity.
The House, Jacquemus
The House, Jacquemus
The guests, who are few due to structural needs, have the very delicate task of contributing to a sense of exclusivity. If in the golden age of couture they would have been the giants of the press, ready to carefully review the impeccable modeling of classic coats and suits – a reference to the shapes of Balenciaga and Courreges – the architectural rigor of shirts whose exaggerated collars make their way from underneath hyper-geometric tops, the fluidity of the seamless dresses, the update on emblematic accessories, from the starched crochet bags to the shoes/sculptures re-edited for the occasion, the attention to the prints that wander lightly between animalier and Riviera captions, the composure of neutrals and monochrome accents with which the color palette is managed, here we have samples of the front pages, and of digital traffic. “When I hear about culture, I reach for my checkbook,” says the rival of the film’s protagonist. With this show, Jacquemus seems to be delivering this same line.
The House, Jacquemus
The House, Jacquemus, Capri
The House, Jacquemus, Capri
The House, Jacquemus, Capri
The House, Jacquemus, Capri
www.jacquemus.com
