Mud, science, controversy and, of course, the trends for next summer. Highlights of Paris Fashion Week – Observer


One of the surprises of Paris Fashion Week was Yeezy’s fashion show, Kanye West’s brand. But attention was not focused on the presentation of the Season 9 collection, which even featured Naomi Campbell among the models. What made the news was the t-shirt worn by West, with the slogan “White livesmatter” on the back, the same one that would have an image of Pope John Paul II on the front and was also used on the catwalk and backstage by parade guest, political commentator and activist Candice Owens, reports the Guardian. The phrase is an adaptation based on the slogan “Black Lives Matter”, from the movement of the same name created in 2013, against the brutality inflicted on black people. After the show, the artist will have written in his Instagram stories that the “Black Lives Matter was a scam”, quotes the Page Six website, but the controversy was already launched. The performance also featured a children’s choir and the participation of Kanye’s eldest daughter, North West.

Cher (who according to the Internet will be 76 years old) closed the Balmain show by the hand of Olivier Rousteing himself, the designer who has made the brand a commercial phenomenon. The pop diva wore a silver jumpsuit, but before her she paraded a collection of more than 100 looks as rich in shapes as in textures. Garments made from raffia and bodices made from sustainably harvested chestnut shells, countless fabric manipulations with Renaissance imagery and clothes burning with a stamped fire, to name just a few of the highlights of this drama-laden show, which took place at the Jean-Marie stadium. Bouin and had an audience of eight thousand people. Admission cost a donation to RED, tells the Guardian. An institution created by Bono and Bobby Shriver in 2006 that partners with famous brands to support healthcare for those who need it most.

In the midst of a busy calendar full of veterans, Paris was also the scene of premieres. Victoria Beckham was one of them. “Paris is the biggest dream”, Victoria Beckham told the Guardian newspaper. After presenting collections in New York and London, it is now the turn of the French capital and its first show took place in the cloister of the Val de Grace church. His brand already has more than a decade, but it is a giant step, since he explains that “a year ago we were not in a position to do a fashion show”. Victoria isn’t exactly a rookie, but she confessed: “Being here is a pinch-me moment.”

And the designer bet everything on this collection. She brought her minimal glamor to Paris with silk dresses with ruffles in strategic places and a light fall that accentuates the shapes of the body. The daring (or, as we are in Paris, sensuality) was heightened by the necklines and miniskirts that left the skin exposed and, probably above all, by the transparencies. “A sexy dress that’s easy to wear. That’s what I like and I’m not going to debate it”, says the designer to the newspaper. Victoria says that she follows the entire collection process, but the creativity is, above all, in charge of Lara Barrio, the new design director of brand. In addition to clothing, it is worth paying attention to wallets that look like they are made of long fringes. And, since the designer is also a celebrity, the family that was in the front row, including her eldest son and new daughter-in-law, Nicola Peltz, were joined by the likes of Edward Enninful (director of British Vogue) and Anna Wintour ( no introductions).

At Off White, the new collection still brings with it a little Virgil Abloh, since it started to be thought of by the designer, before he died in November 2021. Replacing the founder of a brand that in a short time became a milestone in the industry fashion would be difficult, but in April of this year Ibrahim Kamara took over the position of image and art director to drive Off-White. The combination of street wear and luxury works in such a way that the brand became desirable by the giant LVMH and joined the group last year. The show took place on the eve of what would have been Abloh’s 42nd birthday and featured choreography performed by a series of dancers set to music by Faty Sy Savanet dressed in electric blue, matching the catwalk. The concept of “work in progress” is in the DNA, but the collection presented much more. An intense work in tailoring and also in knitwear, dresses in leather and the human body as inspiration, in X-ray-style prints, in games of transparencies and opacities, pieces with round openings on the belly.

Kamara explained to Vogue that all the models in the show were new faces. “The parade is a celebration, and it’s also about hope. Hope is opening doors, and that’s something Virgil took very well to the end.” For this season Abloh and Kamara worked with artist Jenny Holzer based on the controversy over the repeal of the “Roe v Wade” law in the United States. The result was a special t-shirt whose profits go to Planned Parenthood, the largest abortion provider in the United States, tells the Guardian.

Maria Grazia Chiuri took a map of Paris from the archives of the Dior house which was on a scarf dating from the 1950s, in the story of Catherine de Medici, an Italian who arrived at the French court in 1533 and became queen in 1547, and in the Tulleries Gardens created according to her wishes. Crossed all references, the result is the summer collection presented. Wide skirts like those of the court, lots of lace, deep black (because the muse of the collection embraced black after the death of her husband). And then the Dior femininity, floral patterns and the ancient art of raffia work present in coats.

The designer continues her way of collaborating with other artists and this time, not only was there a performance by dancers, but the setting was created by artist Eva Jospin and consists of a piece carved from cardboard and inspired by a baroque cave. The historical character in question is even fashionable and the new series “The Serpent Queen” is also about her, premiered in several countries last September. “She is one of the first figures in history to understand fashion as a tool to promote her own power,” explained Chiuri to Vogue. The designer is fascinated, not only by the political intelligence of this Italian noblewoman, but also by the fashions she implemented, such as the heeled shoes, the corset or the Burano lace, says Dior in a statement.

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After an overdose of hot pink in the latest collections Valentino (a trend that, by the way, the guests of the show followed to the letter) Pierpaolo Piccioli switched back to the fans and the chromatic palette and for the next hot season he presented skin tones and sequins. The Italian designer wanted to bring the essence of haute couture to ready-to-wear and, if in the first case, at the base of each look is a corset, in the second there was a knit piece in the skin tone of the model who wore it. . In addition to an optical illusion, this effect also paved the way to complement the ensemble with sparkles, feathers and cutouts without going overboard, maintaining the distinct elegance that has characterized the house’s collections.

Piccioli threw himself into the idea of ​​diversity, but he also surrendered to the house’s logo and we saw some looks with a V pattern used in full. To parade the collection with the name “Unboxing Valentino” there were no famous models. The real stars were the clothes and in the notes of the parade one can read: “Reveal [unboxing] an image means to reveal an idea. Get rid of the structure and you’ll see what’s inside.” Another season in which the designer masters the art of reconciling the present with the brand’s heritage.

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At the Chanel show, as always, house codes are mandatory. Tweed, suits, well-cut jackets, flowing dresses, black ones as if to remind me “I won’t compromise with black”, two-tone shoes, and looks that achieve the magical balance between innocence and daring. “The films we see, the ones we own and the ones we invent for ourselves, Marienbad, the Nouvelle Vague, the allure according to Gabrielle Chanel, Karl, the night, feathers, sequins, high heels: I like it when things fall apart. mix,” says Virginie Viard, the woman at the helm of the historic maison, in a statement. Chanel gives a clue: the film “Last Year in Marienbad” by Alain Resnais (1961), as an “artistic revolution” dear to Gabrielle Chanel. Without the sculptural scenarios that the brand has accustomed us to, this time the space stood out for its grandeur and the decoration was in charge of projections of a film on the walls. The collection will be a collage of various textures and elements based on the “allure” theme and also a muse, Kristen Stewart.

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On the last afternoon of Fashion Week, almost at the end of the curtain, it was the moment of Louis Vuitton, but the show started long before the new collection hit the catwalk. It turns out that the show space was the result of three creative minds working together. A newly landed spaceship-like installation in the Cour Carré, one of the Louvre Museum’s courtyards, was created especially for the moment by French artist Philippe Parreno. Inside, he had the help of Hollywood production designer James Chinlund. All that’s left is Nicolas Ghesquière, the designer who holds the reins of the French brand’s women’s collections and, as for the proposals for summer 2023, it’s safe to say that there are mini dresses and printed pants for all tastes. When we look at the collection, any disproportionate alert is a false alarm. The giant zippers and buckles are intentional and really have a symbolism, the designer wanted to use the scale to work some feminine codes, explained to Vogue. The richness of the collection goes through the work used in the pieces. There is tweed printed and then embroidered, as well as the lace stockings made using a Raschel machine, then crystals were applied, describes the director of the fashion show section of the North American Vogue website.

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