Victor Glemaud (Q3631)
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Victor Glemaud is a fashion house from FMD.
| Language | Label | Description | Also known as |
|---|---|---|---|
| English | Victor Glemaud |
Victor Glemaud is a fashion house from FMD. |
Statements
You can always count on Victor Glemaud to let the good times roll. This season he did that quite literally, staging his show at Flipper’s Roller Boogie Palace in midtown. A troop of skaters opened the show, gliding onto the runway dressed in the designer’s charming knit shorts, joggers, and ruffle-trimmed onesies. It was an instant reminder that Glemaud makes clothes you can truly move in.It isn’t the first time he has taken to an iconic New York location. For the past two seasons, he set up his runway at the newly reimagined Moynihan Train Hall on 34th street. Crowds of onlookers were fortunate enough to get in on the action at Rockefeller Center today too, adding to the vibrant mood of the moment.For Glemaud, the new collection was a continuation of the themes he set forth for fall. “It was all about American sportswear,” said the designer backstage, name checking many of the greats—Giorgio Sant’Angelo, Stephen Burrows and Geoffrey Beene—who influenced him. He worked along chic, minimalist lines again for spring, kicking off the proceedings with a series of simple black sheer silk crochet tunics of varying lengths.Then came a passage of powdery pink monochromatic looks that included a bodysuit with a translucent V tracing the bust-line. In the same vein, there was a retro-inspired bustier and bikini set in leopard print. Clearly the designer was toying with the idea of swim. “We have the shapes and we have the bodies,” he admitted. “So if any swimwear licensees are reading this, we’re ready!”Glemaud broke new ground with his accessories, collaborating with his friend milliner Gigi Burris on the elegant locally-made black abaca hemp and raffia hats and Vereda’s Evan O’Hara on the super luxe silver alligator beach tote. The cool Miles Davis-style sunglasses he made with Tura turned up, too. With a recently launched partnership with interiors company Schumacher under his belt as well, the designer is quietly expanding the world of Glemaud.
10 September 2022
Victor Glemaud asks himself two questions when working on a new collection. “I always think, What is the shape? How does it show on the body?” he says over a Facetime call from his studio while showing off what is perhaps the crown jewel dress from his resort collection: a black engineered stripe sleeveless shift with a little mockneck. The vertical stripes, in alternating shades of red, blue, pink, white, and yellow, start in a straight formation at the top and as they move down towards the hem, they curve in and out, mimicking the curves of the woman who will eventually come to wear it, and finish as thin points at the end. In the lookbook, it hugs the curves of the musician Amber Mark, and yet it still retains a sense of ease.“We had to place every single stripe individually. Depending on the pattern of the dress or the body or the skirt, it’s a separate pattern and placement,” the designer explained (this same design also appeared on a matching set of a bandeau top and a pencil skirt). “Our technical designer was not happy when she saw these first sketches,” he added laughing. “It took more than six months to develop and it was very much a nail biter of will we get it? Will we not?” Glemaud’s mastery of his chosen material is certainly evident in these pieces.The collection was inspired by the work of John Chamberlain, specifically his Baby Tycoons series, some of which was recently on display at Hauser & Wirth. “It was all these miniature [pieces] that you could hold in your hand,” Glemaud recalled, “and they had all these great color combinations, so we took the colors from that and really the idea of mixing things together like the vertical stripes and the colorblocking, which is something that I always sort of do but hadn’t done in the last couple of seasons.”He continues to push the possibilities of his collection forward with the recent introduction of cut and sew dresses, which allow for further experimentation, as in the long sleeved turquoise dress with its back fully cut out, or the flirty dresses that mix power mesh and ponte. “We’re taking that sort of old-school fabric that Donna Karan made really famous and just making it a bit more contemporary. The power mesh is knitted, but it holds you in a different way.” A highlight of this new direction was a little black dress, with a kicky skirt made of power mesh inserts that looks made for dancing. With clothes this fun, who wouldn’t want to hit the dance floor?
13 June 2022
Lately Victor Glemaud has been working a more minimalist groove, a new mood that’s been percolating since the spring. For his show at Moynihan Train Hall today, the designer ramped up that aesthetic, stripping down and paring back his signature vibrant knits. Models sauntered into the marble paved atrium in classic red stilettos, their hair tied back with chic headscarves.For African movie buffs, the reference was unmistakable: Ousmane Sembène’sBlack Girl, a masterpiece of 1960s cinema that earned the pioneering Senegalese filmmaker international renown. Mbissine Thérèse Diop plays the young Senegalese woman who moves to France to work for a wealthy white family. Her stirring performance is amplified by a wardrobe of impeccable black and white shift dresses.Punctuated with touches of tangerine and soft beige, the collection’s mostly monochromatic palette nodded to Diop’s scene-stealing performance. Glemaud introduced a new, more pliant yarn to his brand this season, and the resulting cut and sew jersey dresses were attention grabbing and flattering on a variety of body types. The most compelling examples were cut with athletic attitude, including clingy hooded racerback maxi dresses, ruched asymmetric LBDs, and stirrup leggings.As a partner to those bodycon looks, Glemaud showed a series of fur coats, perhaps the most unexpected aspect of the collection. With so many brands going fur-free, these days it’s rare to see so much as a fur trim on the runway. Still, for Glemaud the choice made sense. “Fur has a rich history in Black culture and it’s something I don’t think we should be ashamed about,” he said backstage. “I also don’t believe we should live in fear of being canceled.”It was a lovely surprise to discover in the show notes that he had dedicated the collection to “the countless women who left their homelands for the American Dream,” including his elegantly dressed mother and her twin sister, originally from Haiti, who sat in the front row. “I wanted this collection to be a celebration of body and shape, but most of all a celebration of Black women,” said Glemaud. Easily the most powerful statement of the show was the casting of all Black dark-skinned beauties just like his mom.
13 February 2022
Victor Glemaud is the first designer to show at the recently transformed Moynihan Train Hall. Anointed as the new gateway to New York when it opened in January, the station was a bright spot during an otherwise dismal winter in the city. Today, its light-filled hallways were the ideal backdrop for Glemaud’s sunny spring offering.Glemaud has a natural sense for color and this season the pared-back palette was a tribute to his friend and mentor Patrick Robinson, specifically a collection Robinson created for Perry Ellis back in the mid-aughts. On cut-out bathing suits, string bikinis, and Glemaud’s signature hipster crochet flares, the sun-bleached pepto pink and highlighter yellow tones hit a fresh note. Those colorful yet minimalist brushstrokes were especially complementary to the passage of slinky black and white dresses and bodysuits that followed. Capped off with a series of retro striped looks, the collection presented a complete wardrobe of summer knits that was both sophisticated and sexy.Over the course of five years, Glemaud has honed a laidback, joyous aesthetic. Where other designers have struggled to find their way through the tumult of the last 18 months, it seems he is truly hitting his stride. The charming and highly successful collection he recently made in collaboration with Target is proof he can translate that vision for a much wider audience too.And yet Glemaud isn’t the kind of forget about where he came from. With In The BLK, the global network he launched for Black creatives a little over a year ago, he’s thinking closer to home, helping to build a support system for young Black talent on his doorstep. The industry at large would be wise to get on board.
12 September 2021
Knitwear might be on the rise, but few are doing it as well—or having as much fun with it—as Victor Glemaud. For resort 2022, the designer reached past the classic fine-rib styles that became popular during work-from-home life, draping and ruching his signature merino into cocktail-ready dresses and plunge-front tops trimmed in an appliqué cable. The emphasis, Glemaud said over Zoom, is not just on visual appeal, but on tactility. “I’ve been thinking about us gathering and wanting to touch each other,” he said.To prove the wearability of his pieces, Glemaud cast actor Leyna Bloom in his look book, and instead of staying in the studio, he went with her and the stylist George Cortina to Brooklyn Bridge Park. Bloom lounges in the grass in white knit separates. The designer happily reported not a single grass stain, but more than just being durable, Glemaud’s knitwear is beautiful, hugging and clinging in certain places, billowing in others. During our conversation he referenced icons of American style, from Claire McCardell to Donna Karan. Just like Karan, he takes the essential and makes it sensual.
7 June 2021
“Fall is really my season,” said Victor Glemaud. Right now is really Glemaud’s time too. Never has his style of clingy, happy knitwear been more popular—maybe problematically so. When every cocktail dress brand has suddenly pivoted to colorful knit sets, what’s a knitwear maestro to do?Glemaud’s answer is to prove his mettle as an expert of the form. For fall 2021 he has pushed beyond his color-blocked sets into new realms. Some are pleasantly irreverent, like a pinstripe motif that Glemaud explains is his take on office attire. Done as a slinky yellow maxi-dress with a cutout along the lower back and as an even slinkier minidress, it’s more a tongue-in-cheek nod to work clothes than the real thing. That said, he does have traditional “day” options such as patchwork cardigans and tunics and geometrically placed cable-knit sweaters. It’s a new dimension for him—literally—exploring texture alongside color, fit, and hand-feel. He’s also launching his first shoe collaboration with Shekudo, a shearling-lined, wood-sole clog. Made in Lagos, Nigeria, in suede or a traditional Nigerian woven textile, the shoe is a summation of Glemaud’s new path, mixing comfort with a renewed focus on craft.
15 February 2021
Victor Glemaud made his entire fall 2020 collection out of just three materials: merino wool, cotton cashmere, and a merino-cotton-ramie blend. It’s a testament to his design chops that he can make some of the most bread-and-butter materials look exciting. Glemaud’s unparalleled sense of color, of course, helps tremendously. This season he brought back clean color blocking and graphic chevrons and sweetheart necklines for a minimal but bold look. But for as much as he can make a big impact with a lavender-tomato back-to-front knit set, so is he thinking about the little details that set his clothes apart.Within his ringer midi dresses and pooling flares are a variety of stitched details that amplify the power of his clothes. A shot of mesh or a collarbone-revealing cutout add flair. His coats, actually fully knit, have the weigh and potency of felted wool. But the best thing Glemaud did on his runway—his first—was show his clothing on a glamorous cast of people of all types. As his turban-clad models—an homage to both his friend Camilla Staerk and the women he grew up with—sauntered around a lounge in the SoHo Grand hotel, audience members could be heard whispering, picking out a must-have pant or bolero sweater. That kind of inclusivity translates to real customers who will be delighted at the prospect of wearing a square-neck minidress—hot—with Nike sneakers.
7 February 2020
Victor Glemaud often designs with a fabulous muse in mind; Indya Moore, Grace Jones, and Diana Ross have all populated his mood board in seasons past. For Spring 2020, however, the designer took a slightly different tack, paying homage to New York fashion legend Stephen Burrows. The reference was nicely aligned for several reasons—firstly, for their shared color sense and the hip-swiveling, disco-inflected vibe of their clothes. As one of a handful of black designers working on the New York fashion scene at the time, Burrows broke boundaries in the same way Glemaud is doing now, a connection that isn’t lost on either man.With the help of Bethann Hardison, who worked with Burrows back in the 1970s, Glemaud made contact with the 76-year-old designer. The conversations the two exchanged over email informed the collection Glemaud presented over champagne and cocktails at Spring Studios yesterday afternoon.“His point of view was fully formed straight out of the gate, and I think that’s so important as a designer,” said Glemaud. “He has a clear idea of what beauty looked like to him; everything came from this very instinctive place.” You could trace Burrows’s influence in the distinctive “lettuce” hem that trimmed ruffles on a beige tube dress and charming shrunken cardigans. Images of the gorgeous Angolan model Maria Borges, who stars in the new look book shot by Richie Shazam, were blown up big and plastered on the walls of the space. The geometric patterns that took shape on slinky maxidresses and crewneck sweaters were a modern update on the graphic motifs Burrows was known for.Glemaud always manages to use print, pattern, and color placement to flattering effect with his knits. His beautiful mother floated around in a body-skimming beige T-shirt dress with graphic blue lines running along the sides. The standout piece spoke to a refreshingly inclusive, cross-generational spirit that Glemaud has been cultivating for his brand since the beginning.
9 September 2019
To get his wheels turning for Resort, Victor Glemaud challenged himself to answer one question: If Grace Jones were a young aspiring musician in New York right now, what clothes would she wear to move through the world? As a style icon who’s famous for her second-skin stage outfits and radical body paint, a wardrobe of slinky knits makes sense right off the bat. Surprisingly, though, it was an image of the singer in a graphic, cocoon-like cape that sparked Glemaud’s research. With Champagne flowing and models dancing in optic black, white, and red motifs, Jones’s spirit was in the air at the designer’s presentation at the Jane Hotel last night.Glemaud understands the figure-flattering power of the right print, and his new ruffled pencil skirts came with angled white lines to accentuate a woman’s best curves. Similarly the black body-conscious maxidress that was finished with a vertical harlequin pattern down the middle was cleverly forgiving without a whiff of frumpy. Glemaud is broadening his knitwear range with jackets; the slightly slouchy leopard-and-zebra-print piece hit a high note. It will be exciting to see how he develops that silhouette in the upcoming seasons.
5 June 2019
The notion of high summer knitwear isn’t always an easy sell, though Victor Glemaud might persuade you otherwise. The charming crochet string bikinis that were laid out in his showroom for pre-fall were undeniably compelling and broke the conventions of sweater season. Glemaud has been leaning into his grooviest, hip-swiveling impulses for the past few seasons, and his latest collection put the flower child barefoot on the beach. In addition to the chevron crochet dresses, tunics, and flares he’s been refining lately, there were crop tops and cardigans with a whimsical crochet floral trim.Glemaud has a natural sense for color, and this season his eye was informed by the work of Hilma af Klint, the Swedish artist whose mystic painting drew crowds in unprecedented numbers to the Guggenheim in 2018. The soft pastel palette made for a fresh new canvas for the designer who usually works in saturated, primary colors. That said, fans of Glemaud’s graphic designs won’t be disappointed. In addition to sweet colorblock polo knits, there were terrycloth Breton striped tops and a 1930s-inspired black sailor top with matching flares that would make a pretty picture by the sea or in the city.
9 December 2019
“Autumnal bliss,” was how Victor Glemaud summed up the vibe of his new collection. And withIndya Moore, the breathtakingly beautiful trans actress fromPose,as the star of his new lookbook, that life-affirming mood was twofold. Moore and Glemaud first met in New York late last year, when they were sat next to each at a dinner. The connection was instant. “I was calling her my Hispaniola sister on the shoot,“ said Glemaud, who, like Moore, has Caribbean roots and was born and raised in New York. “She’s only 24, but so fierce and unapologetic about all the things she stands for.”Life-size images of Moore modeling Glemaud’s new collection hung from the walls of the designer’s presentation at Spring Studios today. Captured in and around The Lowell Hotel in Manhattan, the actress brought a sense of play to the uptown scene. There she was, dancing along a wall in Central Park in tangerine flares—a style which has become a best seller for the brand—and a matching crop top.Glemaud continues to bring new life to the oft-shunned knit maxi dress, and this season the most compelling of the lot came with a black and white curvilinear motif that was surprisingly flattering on the body. The designer pushed his previous experiments with fur accessories into ready-to-wear, and the sherbet-color fur cardigan was frothy and light in the best way.Technically speaking, today wasn’t Glemaud’s first fashion moment of the week. His clothes were featured on the runway of luxury plus-size retailer11 Honoré. This latest partnership with Moore marked yet another creative milestone Glemaud’s brand, but more than that, it spoke to the designer’s unwavering commitment to inclusivity.
8 February 2019
Victor Glemaud held his Pre-Fall presentation yesterday evening at Indochine, the New York nightspot that’s long been renowned for its fashionable clientele. The famous banana-leaf wallpaper was a fitting backdrop for the colorful new collection that was partly a celebration of Glemaud’s Caribbean roots. If you’re familiar with the flags of the archipelago, then you’ll likely recognize the most vibrant notes in the palette (the intarsia red, black, and blue dress riffed on Antigua and Barbuda’s flag, for example), while soft, pastel knits called to mind the brightly painted architecture of the islands.The designer has been incorporating crochet into his repertoire over the last few seasons—his flared crochet pants have become a bestseller—and used the technique to flattering effect on A-line maxi dresses that skimmed the hip and the waist. There were flirty takeaways in that homespun direction (see the adorable cropped cardigans and bandeau tops), and other fun transitional pick-me-ups, including graphic black-and-white mink bucket hats and berets in Rasta colors, the brand’s first foray into accessories.Prior to designing this collection, Glemaud had been readingLove Saves the Day, Tim Lawrence’s evocative survey of New York’s 1970s dance music scene. Though this latest offering was hardly a tribute to the last days of disco, the feel-good factor and a sense of togetherness about the clothes was inescapable and infectious. Perhaps the most universally recognizable and uplifting flag reference in the lineup came through in the gigantic rainbow fox-fur stole that was wrapped around a gorgeous long-haired male model.
3 December 2018
Victor Glemaud’s presentation at Spring Place yesterday was something of a double celebration. In addition to showcasing his new collection, the designer introduced the world to Curve, an extension of his brand into the plus-size market which had launched 24 hours earlier on luxury plus-size e-commerce platform 11 Honoré. It’s an idea that’s been percolating since Glemaud dressed Ashley Graham for the CFDA/VogueFashion Fund awards last November in a stunning midi-length optic-white knit, debunking the myth that curvy girls only look good in all black.Entitled “Respect,” Glemaud’s latest offering was loosely inspired by the glamorous women who have influenced him over the years, among them his mother—who was in attendance and easily one of the chicest women in the room—and Aretha Franklin, arguably the queen of all divas, whose passing partly prompted this presentation (Glemaud tends to make his pre-collections the main event). There was an eye-catching variation of the zebra jacquard number that Issa Rae wore to the CFDA awards this summer, and a body-skimming frilly peach tube dress that would be a particularly great fit for Graham. And thanks to Curve, she’ll be able to place an order in her size on any and every piece in the collection.
8 September 2018
This weekend has been something of a New York fashion experiment. The big news was Alexander Wang’s Spring 2019 show tonight, which took place at Pier 17—about three months before most designers (read: hundreds of designers) will show on the “official” calendar in September. The shift is realigning Wang’s sales with the Resort and Pre-Fall calendar, which should allow him to deliver constant newness to his fans. Since he announced all of that in January (and staged his last “official” New York Fashion Week show atVogue’s old offices in February), insiders have wondered if and when other designers would join him. Only a few decided to show Spring 2019 early this week (including Narciso Rodriguez and Rosie Assoulin), but Victor Glemaud has been on this early-bird June-December train for a while. He operates exclusively on the Resort and Pre-Fall schedules, as do Lorod’s Lauren Rodriguez and Michael Freels, who also staged a presentation today.Glemaud’s success is due to more than business savvy, of course. Each season, his knits have become bolder and gutsier, from the high-tech knitting techniques to the wild color combinations and quirky silhouettes you don’t normally see in knitwear. Looking back just a couple of years, his sweaters were pretty subdued—think: charcoal V-necks and cherry turtlenecks with his signature diagonal slashes. Today he described Resort 2019 as “groovy”—and it was the most “Victor” collection he’s ever done. He’s been on a path of self-discovery of late. “I just turned 40 in Egypt, and I also went back to Haiti, where I was born,” he explained. “After doing the CFDA/VogueFashion Fund, I wanted to do a collection that [felt like] me—really fun and stylish and groovy and showing a true sense of where I am today.”Some elements of the collection came directly from those eye-opening trips, like a kaleidoscopic cardigan based on a quilt he found in Haiti. “It’s really visual and makes a great statement, but it’s also just a sweater you really want to wear,” he said. That’s the Glemaud sweet spot: heritage pieces with personality. Cricket sweaters and pullovers came in arresting stripes or with tiny slashes, and a fine-knit lime turtleneck dress was so bright it almost glowed. An ivory dress had a surprise cut-out in the back, and a male model wore a very Resort-y rust caftan with pink jelly shoes. Glemaud has been showing men’s and women’s together for a while, but he doesn’t differentiate between the two.
“Guys will message me on Instagram about buying my [women’s] vests, or they’ll get them on Net-a-Porter,” he said. “I don’t think things need a label all the time. If you want to wear it, just wear it.” All of those pastels and neons have become pretty non-gendered, too; from millennial pink and Gen-Z yellow to orange and lime, Glemaud has some of the boldest, most optimistic-looking unisex pieces you’ll find.
3 June 2018
The last six months have been big for Victor Glemaud, who was one of 10 finalists in the CFDA/Vogue Fashion Fund last year. The designer took model Ashley Graham as his date to the awards dinner in November, dressing her in a long figure-hugging knit dress that was a celebration of her trademark curves. That red carpet fashion turn was something of a light bulb moment for Glemaud, who had been pondering the direction of his business throughout the competition. The next logical step is to build on that body-positive message with an expanded range of sizes, a project Glemaud hopes to launch in the near future. In the meantime it’s gotten him to explore uncharted territory for Pre-Fall. He’s been figuring out what a body-skimming Victor Glemaud dress should look like for starters, using the cheeky slashed sweaters that propelled his label into the spotlight as a template. The floor-sweeping look with peekaboo cut-outs at the shoulder that he made for Graham was done over in a mood-boosting shade of pink this season, and he played with a number of other new silhouettes, too, including one off-the-shoulder number. The most figure-flattering of the bunch came in black with graphic vertical white stripes along the skirt and could be easily slipped under a blazer for the office.Color and optimism have always gone hand in hand for Glemaud. The designer clearly practices what he preaches in his own wardrobe, often pairing his trademark white jeans with knits in mood-brightening hues, even on the dullest New York days. The V-neck cricket sweaters in cheerful color combinations played to his personal style, and were a nice addition to his growing menswear collection. Ditto for the new brushstroke jacquard sweatpants and cardigans. They looked like sartorial pick-me-ups with universal appeal, no matter your gender or size.
10 January 2018
The last six months have been big for Victor Glemaud, who was one of 10 finalists in the CFDA/Vogue Fashion Fund last year. The designer took model Ashley Graham as his date to the awards dinner in November, dressing her in a long figure-hugging knit dress that was a celebration of her trademark curves. That red carpet fashion turn was something of a light bulb moment for Glemaud, who had been pondering the direction of his business throughout the competition. The next logical step is to build on that body-positive message with an expanded range of sizes, a project Glemaud hopes to launch in the near future. In the meantime it’s gotten him to explore uncharted territory for Pre-Fall. He’s been figuring out what a body-skimming Victor Glemaud dress should look like for starters, using the cheeky slashed sweaters that propelled his label into the spotlight as a template. The floor-sweeping look with peekaboo cut-outs at the shoulder that he made for Graham was done over in a mood-boosting shade of pink this season, and he played with a number of other new silhouettes, too, including one off-the-shoulder number. The most figure-flattering of the bunch came in black with graphic vertical white stripes along the skirt and could be easily slipped under a blazer for the office.Color and optimism have always gone hand in hand for Glemaud. The designer clearly practices what he preaches in his own wardrobe, often pairing his trademark white jeans with knits in mood-brightening hues, even on the dullest New York days. The V-neck cricket sweaters in cheerful color combinations played to his personal style, and were a nice addition to his growing menswear collection. Ditto for the new brushstroke jacquard sweatpants and cardigans. They looked like sartorial pick-me-ups with universal appeal, no matter your gender or size.
10 January 2018
“Joyous, fun, flirty,” were the three wordsVictor Glemaudused to encapsulate the spirit of his Resort collection. Truth be told, it was hard to look at the riotously colorful new knits at his presentation without cracking a smile. The designer was among the crowds who lined up to seeAgnes Martin’s retrospective at the Guggenheim last December, which would account for the cooler blue tones and graphic line of the clothes. Admittedly, his splatter-print loungewear owed more to the chaotic beauty of Jackson Pollock, though thankfully there’s nothing too Pollock-like about the price-point of the sweats and tees, which start at $75.Naturally, the notion of ambisexual dressing lends itself to a wardrobe of knits—the track pants were just as cozy and chic on the male model in the lookbook as they were on the female model, for instance. But Glemaud isn’t limiting himself to oversize boyfriend sweaters. In addition to lace-up bandeaus and navel-grazing crop tops, there were charming trompe l’oeil tunics that gave the illusion of a slip dress layered over a long-sleeved tee. The look was playful yet surprisingly figure-flattering, and that cheeky approach to sweater dressing has already gained one very stylish admirer:Selena Gomezwas seen swanning around in one as she shuttled between appointments in New York this past week. It’s easy to imagine a cool girl like Gomez taking one of the sexy pleated miniskirts out on the town, too. Glemaud’s peek-a-boo slashed knits were an instant hit when he relaunched his namesake label back in the fall of 2015, and that distinctive signature gave a nice sense of levity to more traditional knit silhouettes. In other words, even culottes and a grandpa vest can be fun, flirty, and joyous in the right hands.
8 June 2017
Style.com did not review the Fall 2010 menswear collections. Please enjoy the photos, and stay tuned for our complete coverage of the Spring 2011 collections, including reviews of each show by Tim Blanks.
13 February 2010