Jacquemus‘ latest collection is a throwback to everything that was really bad in the 90s that has suddenly become super cool. From pinstripe to PVC and those weird skirt/pant combos, Le Sport 90 proves that the iconic era still has its place in the fashion world.

Simon Porte Jacquemus, the designer behind the cult Opening Ceremony stocked label explained to Portable, “The story is about a girl who lives in the 90s. A teenager with teen problems. She wears menswear, sportswear and goes nightclubbing. The main silhouette was a vinyl skirt on a wool men’s suit with a pair of sneakers… In this collection the main fabric is menswear wool, ‘rayure tennis,’ and the vinyl. Fabrics come with the story… I’m obsessed with images. This film was about this 90′s girl who loves her father’s coat and pair of basketball shoes. She falls in love, she dances, she runs, she’s sad, she dreams.”

Using such specific silhouettes and shapes associated with the 90s has also been modernised for the clientele of 2012, fusing the recent sportswear trend and pops of bright colors such as neon green, a staple of the era. Jacquemus told us “The 90s represent a sport silhouette, dance, radicality and simplicity. We need to be very classic and very sport at the same time, no?”

Jacquemus, who has always paired his collections with fashion films directed by frequent collaborator Bertrand Le Pluard, expressed why he adds a moving, tangible image to his work. “I don’t show clothes in a fashion film, it’s more of a story, an obsession of doing images. I always start a collection with some images in mind. A story to tell, a woman, a girl, an energy and then comes the collection with the clothes. I really enjoy to start a new story every season and in the same time continue the Jacquemus story. All collections are a continuity,” he said.

Shot in the 13th arrondissement of Paris, Pluard explained, “The original idea was to make the trailer of a teen movie in the 80s. Simon has always a girl in mind while making the collection, so the story of that young girl listening to Lio and Corynne Charby was already taking place. We had in mind a parallel between the changes happening during teenage-hood and the evolution of youth between the 80s and the 90s; ‘the story of a teenage girl at the corner of a new decade.’ As we did with the other films, we try here to explore documentary and amateur video aesthetics to get two points of view, an outside eye and an inside eye.”

Referencing French pop stars and indie films, like most of Jacquemus’ fashion films, Pluard also said, ”We were inspired by how youth was represented in movies twenty-five years ago, how teenagers were facing same issues as today but in a softer environment. No early drugs, no porn, no cell phones, no internet, no premature aging… Everything was so much simpler but at the same time still a complex moment to get through, with emotional contradictions, rebellion, emancipation and the birth of the love life. Our references were mainly movies dealing with those subjects, movies like La Boum and La Boum 2, some Eric Rohmer movies, L’Effrontée and La Gifle.

Pluard concluded the reason why film is so important to fashion, and in particular the Jacquemus aesthetic, “Fashion allows experimentations. Clothes and costumes are crucial in the process of describing a character or a story and fashion is about telling stories through clothes, so the moving image format is probably the most appropriate to deliver the message of a collection. Besides that, in a fashion film you can show fashion without talking about fashion which is really exciting.”