Like Miuccia Prada, Akris Albert Kriemler got turned on by cars this season. Kriemler specifically referenced John Frankenheimer s 1966 film Grand Prix, set in Monaco and other pit stops from motor racing s golden age. Still, the two collections were as night and day as you d expect; where Prada was cheeky, Akris was sleek.
Kriemler devoted a large part of the collection to the photoprints that have become a house signature. A shot of the Hotel de l Hermitage on racing day and another of spectators gathered on top of a large rectangular viewing structure were bold. More clever, if not necessarily more subtle, were the tiny speedometer print and a graphic horizontal stripe made from manipulating the image of a car.
Speed was the organizing metaphor here: Shifts were aerodynamic and A-line, while jackets and pants with racing stripes looked inspired by uniforms. Sport has been a persistent trend this season, and this collection puts Kriemler and co. in the center of it.
