Paris Fashion Week unveil the Women’s Fall/Winter Ready-to-Wear collection from 28 February – 8 March 2022. The provisional schedule of shows reveals 95 brands that will showcase their designs. Out of these 95, there was 45 physical runway shows, 37 physical representations, and 13 online collections.
Paris Fashion Week is one of the “Big Four” in the fashion world, along with the fashion weeks in New York, Milan and London. During this time, models, designers, famous names from the fashion world, press and important insiders from magazines, agencies and fashion houses come together to see the latest collections on the catwalk.
Top designers predicting the forecast for the fall/winter 2022 season. Chanel gave us an homage to tweed, Balenciaga’s Demna Gvasalia addressed the harsh realities of war and climate change, Loewe played with irreverence, and Off-White presented its first posthumous show following Virgil Abloh’s passing last year.
High-fashion streetwear brand Off-White will show for the first time since founder Virgil Abloh passed away in November last year. Similarly, The Row — Mary Kate and Ashley Olsen’s label designing luxuriously elevated stapes — will show in Paris for the first time since 2016. Danish label Cecilie Bahnsen will also stage its first ever show in Paris on Wednesday.
The Paris Fashion Week hosted at Palais de Tokyo, there also some digital presentations, as many designers continued to adopt less traditional ways of presenting their designs, whether through imagery, film or something else unique. However, the emphasis was definitely on the traditional catwalk presentation.
Paris Fashion Week (French: Semaine de la mode de Paris) is a series of designer presentations held semiannually in Paris, France with spring/summer and autumn/winter events held each year. Paris Fashion Week is part of the global “Big 4” fashion weeks, the others being London Fashion Week, Milan Fashion Week and New York Fashion Week. The schedule begins with New York, followed by London, and then Milan and ends in Paris.
In Paris the Fashion Week takes place four times a year plus two haute couture shows: In two separate weeks, the men’s and women’s collections for the fall / winter season are presented. Later in the year, the new collections for the next spring / summer season are finally shown.
In Paris, the biggest fashion brands present up to six collections a year: haute couture and/or ready-to-wear and/or menswear, spring-summer and autumn-winter. There are therefore several “Weeks” in the year, mainly two reserved for Haute Couture (January and July), two for Men’s fashion (January and June) and two others for ready-to-wear (March and September).
Here are all the dates at a glance, see up to a hundred brands fashion parade. In addition to ready-to-wear shows, there are men’s and haute couture shows, which are held semiannually for the spring/summer and autumn/winter seasons. French weeks are not similar if they concern haute couture or ready-to-wear.
IFM Master of Arts
The graduating students of the Institut Français de la Mode (IFM), kicked off Paris Fashion Week at the invitation of the Fédération de la Haute Couture et de la Mode. Showcased here are the collections by students completing their master’s degrees in fashion design and knitwear. Student work is a bellwether of the future, and, speaking broadly, this graduating class is not only pushing the limits of their materials and métier, but using garments to address issues around sustainability, gender, inclusivity, and community.
New York based designers Patric DiCaprio and Bryn Taubensee brought their experimental line to Paris on Monday with a high-impact collection that included latex-and-denim looks, puffer leg warmers with matching cropped coats and underwear, and gigantic white platforms that models wore while still doing the signature Vaquera walk that show attendees have come to delight in.
Victor Weinsanto launched his namesake line in 2020. This seasons print is in homage to his friend, image maker Adriana Pagliai. A mix of sophisticated Couture crafted pieces and sporty chic ready- to -wear in luxurious materials share the runway. Weinsanto uses his fetish pink & black combo as well as his signature asymmetrical cuts and shapes. He brings his love of performing arts into his fun, colorful and cabaret-themed presentations. He finds inspiration in live entertainment and Art in general. The models for Weinsanto’s shows are often Muses and friends from different creative backgrounds such as dancing, acting, and cabaret. He is also inspired by history, architecture, and music.
Suspense is created by his cast of savvy characters. The illusion of mystery is suggested through outrageous pieces like the “Medusa” headdresses, crafted using the finest millinery savoir faire combined with Kite making techniques. A full length cashmere fuchsia Opera coat, with its weight pulling it downwards, reveals a bare shoulder. As it slips, a dungaree strap fixes the coat. This style is also worked into a nylon puffer coat with a detachable asymmetric cape forming a giant mutating duvet cocoon. For assassins’ evenings, Weinsanto works both Couture and theater costume techniques. The Black Widow gown features a draped headpiece that deceptively becomes one with the dress.
The Fashion Prize Of Tokyo selects one designer each year and also supports their runway show or presentation in Paris. The winner of the Fashion Prize of Tokyo 2022 is CFCL Yusuke Takahashi’s brand who presented on March 1, 2022 at Paris Fashion Week his video Vol. 4 “Knit-ware” Collection. A headpiece that resembles a backpack with a design employing the “Gabrielle” technique is used in costume design for cabaret dancers who wear imposing costumes, and is worn with high waisted black pants. His Robe Bulle is handmade out of upcycled scarves. A cabaret inspired Robe Plumes reveals what we expect to be hidden. A slightly asymmetric Chapeau Champignon, embroidered with chains, pearls and strass, and worn over a corset dress sculpturing the body of the Bride, closes the show.
CFCL was founded in 2020 by Yusuke Takahashi. CFCL stands for Clothing For Contemporary Life. Simplicity, modesty and responsibility are the values the brand heralds. Designed for men and women following a timeless approach and ethos, CFCL consists primarily of 3D, computer-developed knitwear using certified, sustainable polyester yarns and state of the art technology. CFCL assesses knitwear as a progressive laboratory for innovative fashion-making that matches the needs of contemporary life with products that are sophisticated as they are easy to maintain.
Titled “Spaceship Earth: an Imaginary Experience” Off-White honored its late founder Virgil Abloh at Paris Fashion Week with its very own tribute show. This show included not just Off-White’s fall 2022 ready-to-wear collection, but also a new high fashion line designed by Virgil and completed by the creative teams and collaborators with whom he worked. A massive chandelier sparkled at the center of the space. The runway show was completed with a star-studded cast of names like Karlie Kloss, Naomi Campbell, Serena Williams, Joan Smalls,and Cindy Crawford, who introduced the remainder of the 28 stunning, high fashion silhouettes.
The collection included pieces like quintessential suiting, miniature hemlines in glistening fabrications, voluminous outerwear, and cargo pants with glittered bras. Abloh’s mark was present in the details, like a flag waving “QUESTION EVERYTHING,” and tiny annotations like “FACE” stickers on cheekbones and colorful tags on the sleeves of polished blazers. Knitwear with diamond-shaped cut-outs dominated the ready-to-wear line, along with oversized baker boy hats. Pops of lilac appeared on the mini dress with a subtle slit and the matching coat and pants set paired with a turtle neck.
Titled “Land”, Maiko Kurogouchi show her fall 2022 collection, rubbing her cheek against moss as a way to inform textures. The collection was rich in color and texture, with various textiles mimicking mossy forests, mountain landscapes and rocky streams. Another source of inspiration was the Jomon period of Japanese history, which dates from around 14,000 to 300 BCE. Using photos of artifacts from the period, Kurogouchi reinterpreted their patterns and textures in corded embroidery and intricate lace in a range of warm brown hues.
The silhouettes ranged from classic to sporty, with tech jersey training tops in neon shades of orange, green and pink peeking out from high-necked pantsuits in wool or velvet, and anoraks worn over pencil dresses and faux fur vests. A series of intricate, lacy dresses with flouncy hems were stunning both for their craftsmanship and for their flattering shapes. Kurogouchi’s knitwear also stood out, with its earthy colors and exaggerated textures. The collection was in many ways a departure from the delicate pieces Kurogouchi often creates, but was still just as beautiful and feminine. The ample contrasts came together in a way that was at once modern and timeless.
Entitled “Industrial Craft”, Nanushka celebrates its creative study of functional and intuitive design for Fall/Winter 2022. Within this collection, elevated fabrics, sensual silhouettes and decorative elements combine to create a Nanushka wardrobe that explores an eccentric yet practical aesthetic. Sandor kept the collection anchored to the principles of “industrial bohemian chic,” referencing the Bauhaus ethos that well designed, functional objects are inherently beautiful. Everyday pieces were minimal, unfussy and easy to layer; blazers were soft-tailored and workwear-inspired; roomy trench coats and padded belted wrap coats were made in vegan leather, sustainable practices being one of Sandor’s commitments.
The collection is a renewed interpretation of Sandra Sandor’s ongoing axiom, that if a garment is designed to function well, it will, by definition, be beautiful. The collection is presented as a live audio-visual experience, with the cast positioned on circular rotating plinths, filmed and then projected back onto the surrounding stage in real-time – in a synchronization of technology, craftsmanship and design associated with the art movement. The Fall/Winter 2022 collection demonstrates creative tension in layering. Fabrics like slip satin and regenerated leather communicate with plush textured fabrics like suede, tubular jacquard and an exclusive short-haired faux fur.
The Victoria / Tomas fall winter 2022 – 2023 collection is a puzzle without the instruction. There is a complete image that exists but designer had to follow the intuition. During the work, designer saw the metamorphosis of the girl becoming a woman and a boy becoming a man, yet keeps the sparkle of a childish dream. Designer was experimenting the elegance and the classics, to puzzle with no instructions, meaning they had to use their intuition to complete the image.
They played with contrasts on their signature reversible designs, making one side of a jacket more sartorial, the other adorned with silver sequins, for example, nodding to the more grown-up theme. Elsewhere, transparent sequins were sewn onto a patchwork of herringbone check, worked as a zipped dress with long yellow fringe details. Flounces of plumetis tulle alternately popped out from below a buttoned miniskirt and cropped jacket combo – worked in allover red, blue or black – or created a flowing over-layer in contrast with the structured shapes beneath. Zippers were used to highlight the body, curving around the belly button on skirts and highlighting the waist on cropped jackets.
Titled “NOSTOS-TOUCH”, Di Petsa presents a nostalgic reflection on intimate connection, looking back on the esoteric journey of the past year, through the darkness of isolation and periods of self-reflection, nostalgic for a time when we were touched. Fashion designer Di Petsa, known for her special “wet look” draping technique, the designer unpacks the myth of Greek goddess Persephone and how her revelation of being abducted leads her to reject the world and cause famine. As a result, Zeus orders that she be sent back to her mother for spring and summer where she blossoms and eventually cause the seasons. Petsa’s understanding of the myth has inspired her innovative creations. With a performance that pays homage to the journey of Odysseys, returning home by sea, which in Greek literature is called “Nostos”, explores this tension of touch but don’t touch, a desire to come close, but refrain.
Inspired by traditional lace making crafts in traditional Greek culture, fishnet holes were amplified in shapes across the body, to accentuate and flatter the natural curvature of the form, contrasting sheerness with denser knit. Made with a blend of organic black cotton and blue tencel yarn, the print glistened emerging, dripping from the sea – white cotton and silver/gold variations are also available for Bridal. New drapery techniques were hand crafted, with intentional cut outs across the body, playing on the idea of conceal and reveal, wanting to be naked but also wanting to be clothed. The collection featured more luxurious silk evening wear gowns, with high neck pleated fronts, and diamond cut outs on the chest, in a sensual reveal of the skin. Silk crop tops were knotted at the shoulders,paired with pleated skirts slashed on the thighs.Taking the single moment of a strap falling down one’s shoulder. Looks were further styled with blue ropes and sea knots anchoring and grounding the collection,with a sense of safeness and containment.
Title “The Next Era,” Dior’s collection was a gallery of paintings from visual artist Mariella Bettineschi featuring female portraits ranging from the 16th to the 19th century. Maria Grazia Chiuri finds a way to incorporate feminism into her design inspiration, showcasing them on a broader range of bodies. With a side-nod to Dune, underpinning framework of female empowerment, bar jacket, corset and New Look swirly midi, a most daring bid with advancing modernity and technology. and, of course, Chiuri’s underpinning framework of female empowerment, courtesy of her relationships with feminist artists. The environmental ambience was created by the Italian feminist artist Mariella Bettineschi, who reimagines the objectified female subjects of “Old Masters” as women and girls with their own agency and ability to perceive things outside of patriarchy and colonialism.
The atmosphere radiated an equivalent of the double-consciousness that tension was the unintended consequence of the toxic twist of timing. The images of protection and hinted-at derivatives of armor which immediately surfaced. Light years from a cozy sweater, a beautifully fine cobwebby lace bodice on a fluffy tiered skirt was entirely knitted by computerized machine. Ditto the delicate sunray pleats of another midi dress, where the intersecting strands made the skirt swirl transparently in the light. There were passages of skirt suits with asymmetric hems, substantial daywear with checked tweeds and dissected trenches to add to all this, followed up with diaphanous chiffon for evening. Synergies between Dior’s sober gray suiting and feminine chiffon dresses and technical biker jackets, football shoulder pads and protective racing gloves. That went right down to the shoes-Roger Vivier’s original ’50s Louis heels for Dior, but with technical “anti-twist” ankle straps, and vividly collaged beading.
Title “Hair Chronicles”, KIMHĒKIM Fall Winter 2022.23 Collection celebrates the natural and timeless beauty found in our most authentic selves, is the fourth chapter of the brand’s series titled Obsession. The designer was inspired by his childhood memories of playing with his cousin’s hair. The collection is playful study on hair, and it explores different hair colors and textures such as blond, black, straight, wavy, curly, tightly curled, etc. For the season Kiminte reimagines the brand’s signature items, and enriches the with the element of hair. The series delivers a fresh sense to our existing signature items. The Monroe series with bow details and the classic line that includes the Neo Emma series in black and white suiting were enriched with the element of hair.
It is a collection that showcases the natural and timeless beauty found in our most authentic selves through our playful study on hair. A stripped-down schoolgirl uniform is topped with a hirsute necktie, long strands are braided into corsets and sharp-shouldered dresses, and loose curls fall from cropped jackets and boots. Asymmetric tweed suits, skirts and singlets have unfinished edges, and it’s also used to winning effect as a wave pattern on denim. Coats with zip hoodies have a quirky edge, and his sharply tailored trenchcoats are as masterful as ever. Shiny milk-white leggings add a bit of unreal plastic perfection.
Ottolinger playfully experimented with different materials for its Fall/Winter 2022 collection, featuring retro-futuristic silhouettes and statement outerwear. Two-piece matching sets are crafted from velvet, which arrive in shades of silver, royal blue, burnt orange and black. This season’s cut-out trend can be found on select designs, while flared sleeves make an appearance on long-sleeve tops and jackets. Knitwear is haphazardly pieced together and paired with two-toned moon boots. Elsewhere, tonal puffer jackets don oversized fits, which are complemented with bags of a scrunched-up aesthetic. Meanwhile, elongated coats drape down to the feet in a curtain-like fashion. Reflective latex trousers and patchwork sweaters round off the collection.
The Ottolinger show began with tanks, leggings, tees, and briefs-with the skin-baring cutouts and extra straps. A couple of askew one-sleeve denim jackets and a series of even strappier, very busy little cotton dresses that revealed as much as they concealed. They also revisited the stretchy plaid mesh tank dress that has become a signature. Along with another version of the same shape printed in an artist collaborator’s work, this was the best piece: body-conscious and sexy but pull-it-on-and-go easy. The show concluded with a few pieces constructed with sculptural wire draped in fabric that orbited the torso or shot off parabolically from the hip.
Koché presents its Winter 2022 collection with very special decor to highlight the know-how of Koché’s atelier and the richness of the clothes. Christelle Kocher is one of the very fewof the new generation to master Couture techniques and is capableof designingexceptional piecessuch. The punk element came through in her use of bondage leather braces and leather gauntlets that inched past the elbows. The warm and comforting aspects of the collection were more obvious: There were chunky sweaters paired with tulle skirts; a finer gauge knit spliced with lace on a strapless dress; and spongy sweatsuits for the guys in a subtle logo jacquard.
A beautiful bouquet: soft colours terracotta, dark green, warm black, sometimes flashed with electric blue to recall the striking energy of Koché. As always with Christelle Kocher, the dresses are strong and elaborate. Some elevated jersey dresses are super comfortable and offer the perfect balance between style and ease. Koché’s iconic trench coat is reinterpreted this time with a noticeable new sleeve.The shoes are developed in collaboration with Charles Jourdan. A bomber jacket made by hand with artisanal flowers inspired Madame Vionnet,a hand-weaved coral parka entirely embroidered of crystals or even a traine skirt in tulle embellished with pearls and leather cut flowers. The collection is under the sign of tenderness and technique: the choice of material and styles give the feeling of an envelope for your body. Fashion can hopefully calm us down, heal usand still express individuality and character.
The Benjamin Benmoyal collection was inspired by Benjamin’s graduate collection through brutalist architecture. By injecting the Moroccan influences that characterize his esthetic into an increasingly minimalistic lineup with broader appeal. Long coats with structured squared shoulders as well as tailored pieces are now mixed with caftans and his signature woven striped fabrics. The silhouette gets more sophisticated and elegant while keeping a relaxed attitude.
This season only a single look was crafted entirely from his signature upcycled cassette-tape fabric, a tailored pantsuit with a side tie at the waist in a contrasting fabric. Elsewhere his striped motifs were found as patches of material, down the sides of a tailored wool coat, for example. Buttons, meanwhile, were crafted from materials like waste scallop shells and recycled eyewear frames, sourced from small-scale manufacturers. Focusing on recycled wool, Benmoyal created tailored jackets, flared pants with slits down the sides and shirts made from rectangles of fabric to avoid waste, giving them flared sleeves and cape-like details.
The Saint Laurent collection was an exchange of masculine and feminine dressing standards inspired by writer and activist Nancy Cunard’s style in the early 20th century. Mostly all-black looks, which ranged from très-chic satin trench coats, embossed leather biker jackets, minimal evening sandals, all the way to the YSL tradition of Le Smoking with a series of tuxedos with a more relaxed silhouette. A homage to the brand’s namesake designer and his iconic tuxedo. Throughout the series of looks, there’s a balance of opposites: masculine and feminine, heavy and light, etc. The focus on tension and complementation is what gives the collection its edge, as if it’s teetering on the verge of two extremes and finding refuge in the happy medium.
The collection points these strong, elegant basics for fall that the other brands. Purely the sight of a long, silvery bias-cut dress, with a perfect black low-buttoned double-breasted black peacoat. Fake fur coats and bombers; amazing overcoats with big shoulders; narrow leather coats; elegantly nonchalant cocoon-back profiles. Then the punctuation of something as simple as an ecru floor-length turtle neck T-shirt dress, worn with deep stacks of dark wood and silver bangles on each arm. And the high glamour of ’30s/’80s evening jackets with big bands of faux fur running around them. As more people get dressed up again, return to offices, events and normal pre-pandemic lives, the need for updated basics and key wardrobe pieces will be stronger than ever.
Courrèges Present Principle of our geometry by stages an absurd encounter: colourful silhouettes stroll through a junkyard. Mini lengths pay homage to the brand’s “Space Age” designs, while strapless shift dresses were crafted from two circles. Elsewhere, fake leather squares were spray-painted on body-con jerseys. Select models wore vinyl puffers with large triangular sleeves, which were paired with thigh-high boots. Shiny dresses of a similar material featured Di Felice’s take on John Coplan’s paintings such as diamond-shaped cut-outs on the sides. Experimental cuts were a recurring theme throughout the range, as seen on Milano knit turtlenecks and vinyl pants.
Shade carried clear of geometric patterns: squares on the back of the heritage coat like a sprayed metal sheet or on the folded T-shirt; triangles hanging from the neck or bras on dresses; circles in the back of coats, tops or dresses. As ever, archetypal Courrèges geometric shapes are inserted. The swallow detail, the tubular collars and – for the first time, the diamond, made of the assembly of four squares with blunt corners. In series, the primitive forms proliferate though become discreet, as absorbed by the new Courrèges. More offensive, more suggestive too. Shoes announce a statement. Bumper, stretched heels and sharp toes: the age of innocence is over.
Titled “Poor Connection,” Meryll Rogge’s fall collection explored the links between seemingly unrelated garments. Belgian designer Meryll Rogge had a hankering for something festive after two years of pandemic-related disruption to human-to-human contact. This collection explores a beautifully distorted vision of our everyday realities and the surreal narratives it creates. Day looks take on an evening-like sense of glamour: revisiting the cuts and details of sport jerseys leads to unexpectedly sophisticated floor-length v-neck polo shirts and pastel color blouses, all in technical knits. Seemingly familiar soccer-inspired prints in bold geometric shapes become all-over patterns covering outerwear jackets and coats.
Take sports jerseys and evening gowns, which she joined together to create slinky but not clingy dresses that hit the midpoint of cool and couture. Or the way she turned the handsome but scratchy classic wool sweater into a luscious cashmere-lined must-have. Elsewhere, cleverly constructed trompe-l’oeil pieces like a denim wraparound with built-in shirt panels peeking underneath, or a shirt dress with an actual dress – label visible – as a front panel underscored her knack for construction.
The Row’s collection are vaguely mannish: oversized and boxy or cut with a slouch, an attitude that’s accentuated by the sneakers that they pair with everything from a belted leather trench to a three-piece pantsuit. This collection is awash with color. Colorful sportswear that is this collection’s key message: It’s the one that could make women rejigger their back-to-work wardrobes when offices finally reopen. The green turns up on a cardigan jacket and fine-gauge sweaters, and it mingles with equally vibrant shades of orange and purple.
They use these brights like the minimalists they are, by avoiding prints and patterns in favor of big blocks of color, layering an orange turtleneck under a white button-down under a purple V-neck under a tan three-button coat, or assembling a long, lean silhouette from a gray ribbed tank on top of a red crewneck and white turtleneck, all of them paired with an ankle-length black skirt. There are also more muted shades of navy, bordeaux, and forest green, for clients not ready to embrace the more extroverted colors.
Titled “Lost in Transition,” the Di Du presentation featured a live catwalk as well as a campaign film. The collection takes inspiration from the designer’s internal conversations on a personal journey that eventually leads us to self-acceptance. The creative aimed to express a DIDU woman that isn’t confined to just one style, but rather open to multiple personas, personalities and egos. A biker girl out of the city to explore our disconnection with nature, and sent the collection to Paris for a Last Supper-style piece of performance art where models dined on rocks and shells.
That universe is both stark and luxurious, offering up looks ranging from her signature cutout dresses that expose the feminine form to masculine, moto-inspired suiting. Those are sculpted in leather and denim, given sharp shoulders and peplums that imbue a sense of tense energy. Leather bikini bottoms peek out from choppy miniskirts, a shredded hoodie is paired with a ballgown, and a blanket-sized slice of suede is twisted around the shoulders and transformed into a flowing wrap. The lineup is highlighted with a dramatic, contrasting color palette with diverse textures and textiles. A long-sleeved cut-out dress is splashed in a vibrant pink hue, while furry fringes take over skirts and tops. Elsewhere, an evening gown is covered entirely in fuzzy material, contrasting other looks featuring leather skirts with lace-up details, denim sets and more. The collection is complete with corset tops with curved hems, paired with micro-mini skirts.
Rochas’s collection was talks about freedom and something super sophisticated, shows all about medieval ensembles. Charles de Vilmorin translating house heritage as a mood and lifestyle, rather than reference any particular design features. The vibe was well-off Goth meets monochromatic New Romantic. Understand sheer and delicate silhouettes, accompanied with eye-catching fringes, intricate embroideries, and long nails executed in a mostly black palette meant to highlight textures and lending an eveningwear tone to the collection. The collection’s gothic aura was also apparent amongst the pieces’ headwear like its gleaming long-sleeve ribbed top with a connected one reminiscent of a knight in shining armor while the multicolor patchwork leather boots and studded-strap boots depicted sophisticated ferocity.
A series of dresses whose full, almost floating skirts were suspended below narrow waisted full shouldered bodies represented a consistent silhouette. There were a couple of handsome hammered silk Le Smokings: one single-breasted in bronze, one double-breasted in black and one single-breasted in black jacquard. The shoe team did well via multicolor patchwork leather boots and studded-strap boots. Emphasis on the waist and plissés were the main elements that he used to define the silhouette of the season, executed in a mostly black palette meant to highlight textures and lending an eveningwear tone to the collection. Madame Rochas’ winged adornment was referenced in prints of feathers and birds, but also in the way the pleats that made sweeping sleeves and floor-grazing gowns fan out when in motion. Those looked particularly striking on the runway.
Coperni’s collection showcasing their expertise in spinning cool, seemingly minimal pieces from complex constructions is a range of instantly cult-worthy silhouettes. Aim to “dress the new generation,” the label’s latest styles arrived in the form of hooded pieces featuring reinvented tailoring. Elsewhere, cropped jackets came with deconstructed elements, while the Le Smoking jacket sported a twisted front with cut-outs at the midriff. See-through pieces were also seen on the runway, including Bella Hadid’s keyhole halter neck dress embellished with crystals. Meanwhile, dresses with slits were presented in baby pink and white, as well as a white sheer material with a floral pattern.
Anne Isabella’s collection celebrating the juxtaposition between the raw and the polished, in the old and the new. Anne Isabella’s new womenswear collection Fragment introduces an organic textural process to her discernible interpretation of archetype garments from the 60’s and 70’s. The collection showed stripes can be a pretty wide territory to explore creatively. Known for nostalgia and modern luxury by combining vivid memories with futuristic visions, the Berlin-based designer’s fourth collection emphasizes an importance in hand feel with a textural rawness.
Anne Isabella’s graphic proclivities certainly nodded to the era, as did the straightforward outlines of this compact 16-look lineup. Her pieces uncovered of-the-moment twisted-seam trousers, an Op Art-ish knit set, a puffer jacket made of silky pleated material and all manners of smart numbers outlined in whip-stitching, with trailing lengths of thread or with lengths of stripe-printed chiffon. The collection moves outside of the 2D realm of print to a third dimension. Standout techniques include pleated pieces that form a multi-dimensional stripe as well asexaggerat- ed plays on topstitching in soft, chunky wool and denim. Warped motifs on knitwear and denim continue a print point of view seen in previous collections.
Paul Smith’s collection picking up on the inspiration in New Wave, Jean-Luc Godard and David Lynch art house films, mixed blurry psychedelic prints, patterned velvet and corduroy into his women’s tailoring oeuvre, and brought in enough comfort touches to satisfy the still-working-from-home set. Highlighting a deep blue suit with a high-waisted kick flare trouser and a long line double-breasted blazer as an example of a look that crossed over from the men’s collection. Tonal color and pattern appeared throughout, as on a fun emerald green and blue ditzy twilight floral shirt and corduroy pants. A silk shirt, combined with a side-draped silk front tailored skirt came in a groovy “solarized print” intentionally blurred to cinematic effect.
Chloé’s collection visualizing climate success, expressed very literally on hand-painted bags and intricate intarsia sweaters: one side a brown and withered landscape; the other a verdant vista once nature had been allowed to heal and “re-wild” itself. Hearst’s primary resolve to message hopeful solutions in the face of climate anxiety. “Rewilding”, has scientifically proved how ecosystems, plants, insects, birds, and soil will start healing themselves of their own accord, in balance with the benefits brought by grazing animals.
The collection with strict, minimal, black, brown and yellowy-tan leather pieces, ranging from coats to shirts to narrow jeans-with an of-the-moment white tank tee, and a belted black dress with balloon sleeves. The show hewed between boy-tailored pant suits, fit-and-flare dresses, and Hearst’s characteristic affinity for ponchos and knitwear, and for searching out links with socially-responsible textile projects.
Minuit’s collection focus on freedom, and looked to the loose sexiness of classic Charlotte Rampling. Filtered through a Lower East Side lens from Arbellot’s years in New York and morphed for the Millennial Parisienne, the result is high-waisted flares, slinky slipdresses and long-line smoking jackets that exude chic confidence. This season Minuit experiments with coated cotton for a crisp cream pant-and-coat combo, topped with a dramatic faux-shearling collar to glamorous effect. A quilted emerald jacquard, which was transformed into a shrunken bomber and miniskirt suit. It’s one of the few pops of color in the tightly edited collection. A scarf that doubles as a belt and logo-flocked tights. Plans for bags and shoes are in the works, but for now she wants to build the brand on smart staples. An update this season in cornflower blue, and a poplin button-down with subtle pleats at the shoulder brings a boyish sexiness.
Alexandre Vauthier’s collection distilling his couture ideas, show into more accessible fabrics and techniques. His offer expanded cinched suiting, diaphanous layers and ruffled gowns into a dizzying variety of options that went from sexy cutout dresses to cozy intarsia sweaters revisited with crystals. A solid lineup of leopard-print pieces, as well as other separates including Fair Isle sweaters with tonal strass or a standout velvet knit sweater with the season’s leg-of-mutton sleeves were also on the display. Vauthier’s tailoring appeared in ample trousers paired with a cinched jacket, in red velvet or black or white flannel for day, perhaps with a jeweled lapel.
A solid lineup of leopard-print pieces ran the gamut from an ethereal dress and a trench to sweaters, as well as jeans in soft flocked denim. Feathers and flounces into ready-to-wear iterations with a similar allure. A long, one-sleeve white bias-cut satin dress from the couture runway was reincarnated, for example, in a different construction in jersey and viscose, which had the added advantage of being wrinkle resistant and therefore travel friendly. Embellished couture numbers, like a hand-colored gown embroidered by Lesage, found a fresh iteration in gradient red and black. Other separates included Fair Isle sweaters with tonal strass or a standout velvet knit sweater with the season’s leg-of-mutton sleeves.
Loewe’s collection pushing things toward something that could be irrational, surrealism with mass psychological tension turn into fashion. In times when reality becomes outrageous and nonsensical, it’s only logical that fashion should start to reflect illogicality. Loewe reveling in the freedom of being unshackled from fashion rules, doing things instinctively, without reason. It parallels a time when it was only human to respond dementedly to the trampling of order all around us.
Around 99 red balloons went by – some trapped on the vamp of strappy sandals, some squashed into bulging heels, some done up as kinky little bras, and still others suspended in jersey draping on column dresses. A mini trapeze dress with a car trapped in the hem; tube dresses with high-heel pumps stuffed down them; rough-cut shearling pervily butting against latex; shoes entirely sunk in some sort of drawstring-bag galoshes; and balloons-lots of balloons: red ones squeezed between shoe straps and oozing from bandage-dress drapery. A series of short leather showcase the fundamental materials and skills of Loewe. cap-sleeve dresses, the skirts molded to seem as if swishing in the wind, had a lot of Réne Magritte about them. The polish and luxurious colors, chestnut, pale pink. A kind of meditation on leather as luxury was dotted around the show. A cool-headed continuity too in Anderson’s long, elegant tube dresses.
The Issey Miyake’s fashion video, called “Sow It and Let It Grow,” this collection’s Yuichi Kodama–directed video did indeed present its outfits and models as fast-flourishing seedlings that sped from horizontal germination to wending growth up a spiral staircase: They were then digitally replicated as they spread across a trellis of elevated walkways. Issey Miyake focus on the beauty of nature, and discover the untamed nature of a growing plant, including its roots growing in all directions, the stems growing from the ground into the sunlight. Issey Miyake create a collection that is lively, and to feel like the garments are alive and growing through their color, silhouette, and textures. The colors of this collection were created through natural colors of fruits and vegetables. The design team took real fruits and vegetables (i.e., beets, kiwis, oranges) and created juices to be inspired by their beautiful colors to create the color palette of this collection.
Subsoil monochrome dresses and separates featured irregularly contoured panels of plissé recycled polyester yarn shaped to echo the thrusting chaos of root systems. Flatly foldable seamless knit pieces in a series named Rhizome included frond-like extraneous sleeves for leaving loose or wrapping around the body like a sun-seeking jasmine plant. Tie-dyed dresses created in pods of pleating connected by Kyoto artisans using the shiborizome technique were meant to resemble pea pods. Dye prints of sliced fruit pieces decorated three styles of suit and dress on cotton cupro. Less literally botanical were the garment-dyed brown and pink dresses whose bulbous shapes were achieved by sewing in circular panels of elastic that then shrunk and tautened during the dyeing. Coats in layered wool and cotton were patterned to abstractly mirror plant growth, and a closing trio of looks in rectangular panels of material attached with typical Miyake ingenuity were gently leaflike.
Christian Wijnants’s collection inspirated by spring trip to Ibiza, fascination with the island’s natural landscape led to a greater focus on plain fabrics such as textured linens, draped into place like a sarong or structured as loose tailoring alongside the prints. Wijnants’ aesthetic draping and crocheted pieces showing off a little skin. Loose tailored pieces intended to evoke contrasts between nature and the island’s architectural landscape were combined with twisted and draped looks and prints formed by painting flowers on silk and letting the ink bleed, blurring the colors.
The addition of textured fabrics and mottled colorways added an appealing rawness to Wijnants’ signature style. Summer trenchcoats and loose tailored separates in vivid green, brown or white linen or rough silk, yarn-dyed for added texture; hand-crocheted tops and dresses inspired by a spider’s web; draped dresses and tops in abstract blotches of color and another with a blurry bird motif. Wijnants created sunglasses with fellow Belgian label Yuma Labs with recycled, recyclable frames and a distinctive wave-edged shape.
The Nina Ricci collection revisited the wardrobe of basics with silhouettes dressed in sleek pieces: elegant tailoring, wide pants, short skirts, graphic tights and comfortable dresses. Colors and textures collided: mohair and tulle, baby blue and candy apple, demonstrating once again that boldness and femininity are an integral part of the house’s DNA. The Nina Ricci collection served women, and is about easy shapes without wear so many conceptual things. The studio offered up sharply tailored daywear, colorful sweaters and easy print dresses. Capes, a 1960s house favorite, were the key outerwear shape, offered in a variety of guises, from straightforward wool to a voluminous red coat in glossy ripstop nylon with a detachable capelet stood out. Fun touches, like a two-in-one hat made of a felt cloche shape covered with a wool beanie.
The collection drawing on the house’s storied archetypes and savoir-faire. In lieu of the pretty, well-mannered florals that marked the brand’s heyday came “sprayed” florals-as-camouflage print on one slip dress. Tailoring tradition was applied to techy, very on-point materials, like chocolate quilted nylon. A glossy apple-red cloche of a cape contrasted with more traditional houndstooth or chevron wools and soft, thick textured knits. On a lighter note came playful little mohair argyle sweaters in eye-popping colors with matching panties. A little black dress had tulle overweave on the bodice that, despite visual interest.
The Lanvin collection is a celebration of the paradox and contradiction of fashion, and of the contrasting themes that energized the work of Jeanne Lanvin. Plays of opacity and transparency, of hard and soft, of nostalgia and modernism. The fashion flim shows a illusion: smoke and mirrors, chiaroscuro and mirage. The glamour of Hollywood was the first augmented reality, a means to escape. The collection is unveiled via a film short referent to classic Film Noir, filled with reflections and echoes, darkness and light. Silhouettes are narrow, shoulders emphatic with a tailored swagger, applied to coats and jumpsuits but also loaned to soft dresses – a contradiction between sharpness and fluidity. A sense of polish, rigor and sophistication inspired by the maison’s couture heritage prevails, across all genders.
Inspiration is drawn from Art Deco and Ancient Egypt, thousands of years apart, the aesthetics of the former were fundamentally shaped by the latter. More abstractly, fragments of histories are embedded in other garments – a wool gazar back with shapely princess seams, an inset of velvet defining a waist like a mirage of another garment. Insides are unlined, exposed, in celebration of the beauty of couture. Crafting clothing, and crafting image alike. Textures are rich and lustrous, colors deep. Leather is given a preciousness, polished in gem tones. There is a game of make-believe with surfaces: Tessellated Art Deco patterns, like tiles or marquetry, may be evoked through print, knit, or fils-coupe silk-velvet, hand-painted, their lustre pretending embroidery.
Theme “sensuality” and empowerment, Ester Manas’s collection truly celebrated women of all shapes. With a mix of lingerie-inspired sheer dresses, peephole knit pieces and Americana print T-shirts. The brand’s signature ruched dresses were slit to the thigh, open at the back, or cut away at the shoulders and hips to flash a maximum of skin. Items this season included asymmetric wrap tops and split skirts with scalloped seams, as well as draped skirts with adjustable waistbands.
Ester Manas has evolved ruching techniques which add in extra fabric, producing spiraling effects, and cutouts which hold securely and flow elegantly and sexily where they should. The other facet is knitwear, midi tube skirts with slits to abet sashaying; cache-coeur bras. Vibrant and subtle by turns, color palette ranging from orange and violet to moss-green, is entirely chosen from what is available, avoiding the use of virgin materials.
Rui Zhou’s collection showing the super-powerful aspect of women and to show sexy, confident bodies. The collection showcase the feminine feeling in a tight-knit relationship, to a more relaxed approach to design and femininity. Known for body-conscious, ultra-fine knits, Rui presented her first graphic-bearing T-shirt and offered her take on suits, outerwear, loungewear and blankets, using techniques like printing, embroidery and crochet.
Anrealage’s collection is a fashion film, showcase an ethereal space opera that offered up luminescent dresses and quilted white puffer shifts that lifted like a cloud. In a moon-simulating Japan Aerospace Exploration Agency (JAXA) lunar training site named the Advanced Facility for Space Exploration. The film began with a close-up of a space boot modeled after NASA’s originals and made in partnership with United Nude lifting slowly down and off the surface to leave a footprint.
The collection that followed was referential to space suits both in appearance and substance: the collection incorporated an ultra-light aerogel typically used in space gear that offers insulation properties down to -196 degrees Celsius. Anrealage added fans inside the garments to ensure ventilation; he developed his own fabric woven with fiber optic thread that changes with the touch of a phone; the United Nude collab trainers were crafted after the official “moon boots” – albeit altered for life with gravity. A second all-white section worn helmetless and all featuring a helmet-friendly wide-neckline there was a series of three amazing black dresses. It was all transformed into voluminous separates with unexpected proportions, clavicle-exposing collars, inverted pleating, updated cargo pants and chunky knits.
Vivienne Westwood’s collection make an elegant tribute to the world of theater. Vivienne Westwood explored the things passionate in design like tailoring, created a collection rich in archival, costume and classical art references. The bulky layered looks with wide tartan scarves and hoods evoked the imagery of a British artist Daniel Lismore. Not only West End and museum artefacts, some looks employed sportswear fabrics and cuts in the form of gowns short at the front, others paid homage to Westwood’s punk roots through graphic shirts, waist coats and feather-trimmed skirts.
Hermès’s collection translate classicism and sophistication and chic into the idea of a woman really. An act of defying gravity, and it was all abpit lightness. Balancing craftsmanship and immaculate attention to detail, Hermès combine unique dualities; hard and soft, solid and weightless. Hermès forward march of body-mapped shorts, in the abbreviated, engineered shapes of knitted onesies and form-hugging leather. The other was the manipulation of opaque-sheer techniques in narrow stripe formation-the shadow-play geometry on a sweater or a flared skirt with its vertical strips of leather interlinked with semitransparent lacy panels.
This season, Hermès invested her thinking about short shorts in making aesthetic judgments about proportions and footwear, and sent out several of these faultless types. A minimal matte black leather zip-up coat; easier shapes in white and brown; coats and jackets that mixed loden wool with leather paneling and piping. The square-toe, pebble-heel, calf-hugging over-the-knee boots, on point (as it were) alternatives to the heavy footwear that is dominating current fashion.
Atlein’s collection with a fashion film, entirely with materials that were already present in Tron’s workspace. Antonin Tron set parts of his film in the little-known mineral gallery in the basement of the Sorbonne – where he studied literature before heading into fashion. He showcased his creations against the geometric glass display cases filled with rocks, crystals and meteorites in a rainbow of colors. The designer want to showcase a sense of chaos clustered the mannequins the designer imported from his studio at the Palais de Tokyo basement space. From this, Tron fashioned pieces that were sexy and old-world glamorous in their sumptuously draped obeisance to the bodies they contained.
The organic forms and their vivid colors provided a new energy for Tron’s designs, worked with mineral motifs made with precision tie-dyeing. Form-wise, he remained true to his aesthetic, creating his slinky yet sporty draped and color-blocked looks from crêpe-like Seaqual fabrics made from ocean waste. Looks from previous collections also got the upcycling treatment, bleached and over-dyed to create new patterns. On a cocoon-like dress with its gathered neckline and matching leggings, the crystal-like motifs appeared to glitter from the depths of the earth. On a selection of T-shirts and tank tops, paired with corsets made from upcycled wetsuits or with lace-edged satin slips in contrasting shades, the motifs were more graphic, less literal, and the contrasts attested to the sense of disorder the designer sought. Tron’s signature silhouettes, meanwhile, popped with the jewel-like tones or radiated with moody intensity in black or navy.
Barbara Bui’s collection brings sophisticated, ultra-sharp looks, which inspired by the seventies and the nineties fashion, and it fuses chic couture spirit with oversized volumes, and pronounced shoulders. The design switches between masculine and feminine, structure and movement, sharp lines and streetstyle comfort. Applied to pleats, the design becomes yet more elusive, pixelated, almost evanescent. It adorns ultra-chic blouses worn with flared pants, with nineties accents. The look is poised on a knife-edge. The style is striking, with straight, frontal lines. The movement is sharp, as if captured in action.
The tailoring is bursting with hyper-femininity, perfectly fitted jackets worn over tie neck blouses, pants transformed into pleated Bermuda shorts, extended by square toe boots. Sleeveless parkas with undulating quilting, worn over suits, breathe new life into the look in a single stroke. The looks are brought to life by a gentle orange glow. An intense colorama that oscillates between cream and tan tones, shades of red and beige, as if ignited by a golden glimmer. Deep brown, vague and jarring, flashed with ultraviolet rays. Really bright black, as if polished, displayed on the tapered silhouettes, on leggings finished with stilettos. Electric blue makes an unexpected appearance in the form of an oversized puffer jacket. Ivory blends into ebony in blurred print, evoking animal motifs and textures of bark.
Balenciaga’s 360° Collection was not only a powerful and immersive experience. Set in a glass rotunda as a simulation of a giant snow-globe, the production had been planned as one of Demna’s meta-immersive confrontations with climate change, projected into a time not very far ahead when snow will not exist, and become a wonder only ‘experienced’ through virtual reality. Models struggling forward, bent against driving snow and wind, some carrying heavy tote bags, took on a whole other significance in the agonizing context of current reality. The apocalyptic scenario had synced in with the feeling of helpless exposure to the elements he’d gone through during his escape.
A stoical elegance, black asymmetric dresses blowing voluminously in the artic wind. Oversized hybrids of hoodie and padded outerwear; leather jackets that turn out to be made from Balenciaga’s new mycelium-derived leather-mimicking alternative. Tote bags mated with boots. And at the end, two looks, one a yellow tracksuit, the other a blue dress with a long, long flag-like train. Bold silhouettes were the standouts of the presentation. Pullover outerwear included reimagined variations of leather jackets, bombers, denim and track jackets as closed-front pieces. Turtlenecks, pants, and jersey hoodies were the staples in the capsule, all of which were either oversized, distressed or shrunken down. Hybrid stretch dresses and bodysuits were reworked with the amalgamation of gloves, shoes, pants or leggings.
Titled “Nostalgia”, Maitrepierre’s collection confronting a bourgeois wardrobe with contemporary notions like leisurewear and codes from the digital-first era. The design splicing together chic basics into items that could be worn multiple ways, or cutting them from loungewear materials like toweling or fleece. There was plenty to look at in this lineup with double-sleeved sweatshirts, as well as trompe-l’oeil hybrids like new spins on last season’s blazer-hoodie and a trenchcoat with a dress built in. The slingbacks revisited with latex rabbit heads as a nod to fuzzy slippers.
Valentino’s collection adopted an extreme color strateg, every look on his runway was pink and black. The color “monotone” to remove distractions and concentrate the viewers’ eyes on distinguishing the differences between silhouette and detail. The pink went on for 40 silhouettes, meted out from head to toe, in everything from tiny bubble dresses to long, narrow tabards, to crinolined bells; from sweeping opera coats to tailored suits and overcoats. It then returned eight more times for a grand finale of ostrich feathers, stately capes, and embroidery. The cooling-off period provided by the sudden switch to black, mid-collection, showed off the elegance and sensitivity of Valentino’s repertoire to more powerful advantage. What Piccioli does by pairing lace tops or twisted tulle with pants feels modern, and cutting a black silhouette is very much part of the sober feeling that is sweeping fashion for fall.
Piccioli showed his range with soft volumes, as on a cape-back T-shirt dress that floated down the runway, and with more graphic pieces such as the edgy. Tailoring ran the gamut, from classically feminine to more utilitarian, an hourglass coat with looped bow at the waist, to an haute take on a boiler suit with a plunging front. Sweetheart dresses with curved necklines were a beautiful throwback, while a ruffled chiffon shirtdress with train worn over high-waisted trousers was a more masculine take on diva drama. Crystal embroidery as dense as rock candy on a bubble dress with slouchy sleeves, and as fine as cotton candy on a delicate knitted cape. Three-dimensional flowers covered a mannish overcoat like a topiary, while black nylon floral macramé was cut into a sporty men’s jacket. Sequined cable knits and swingy T-shirts were also playful. A black trenchcoat with a floating panel of fabric had a beautiful sense of movement, while buttery black leather jackets, fleece hoodies and pants should speak to the streetwear set.
Stella McCartney’s collection “Give Peace a Chance”, struck the note in what is a widening disconnect between fashion and reality. Minimalism and maximalism are parallel with clothes that had stylish pragmatism. The collection is about traceable, artful and, above all, wearable, a conscience of the brand, 67 percent of the collection was made with sustainable materials, including forest-friendly viscose, organic cotton, recycled nylon, recycled polyester, regenerative NATIVA wool and RWS wool from traceable sources.
Stella McCartney translating the artist’s riotous collages into allover printed jersey pieces and suiting, and bold straight angle and diagonal stripes onto assertive chalk stripe tailoring, faux fur power coats, and graphic knits that made for very cool sweater dressing. Flocked denim jeans and a sweetheart neckline fitted jacket, utility pants and shirts, and that Stella staple, the jumpsuit, in black, chocolate brown or burgundy made casual look special. Lots of fabulous, flattering dresses, too – suspended from triangle bra tops, with draped sleeves and bubble hems, or in slick-looking coated georgette with cape effects creating a goddess-like grace.
Sacai’s collection celebrate love, fidelity and friendship. This season is more about experimenting with singular pieces. On boxy men’s jackets, Sacai cut into the pattern to create bra shapes worn over the top of them, their elasticated straps gathering the back of jackets into extreme bustle shapes. The collection’s long skirts, meanwhile, were split up the center front and back, with each side gathered to the thighs. If that sounds complicated, it actually added a nice ease to an otherwise dramatic silhouette. Amidst the lean shapes elongated by raised waists that dominated the lineup was a standout parka whose khaki shoulders were spliced with a burst of three-dimensional red satin, as if a winter jacket had reproduced with a mid-century bubble dress.
Sacai offered plenty of sporty options, from chunky ribbed cardigans and fisherman sweaters with lingerie-inspired accents, to cool cropped shearling jackets worn with pants that split open to make a flowing skirt. A silver sequined, flapper style dress slung over wide-legged pants combined the best of both worlds, and felt in tune with the Cartier collaboration that was unveiled on the runway. Sacai’s skillful hybrid constructions melding workwear staples like aviator jackets and parkas. A sculptural red satin zipped coat with a bra top looped through the bust, or a long Empire-waisted orange shearling waistcoat. Exaggerated volumes evoked historical costume. A trenchcoat came with a bustle back, while oversize down jackets had an extra layer that created the illusion of a below-the-shoulder pouf dress.
Ungaro’s collection showcase the colors of sweets are apparent in the bright bonbon pink and cherry red. Shapes also draw on key looks from the house’s heyday, cropped slimline trousers destined to be tucked into ankle boots, flowing skirts and loose blazers with a subtle ’70s vibe tempered with Art Nouveau.
Louis Vuitton’s collection turned to adolescence, a certain developmental period everyone goes through. There’s a lot riding on young people, inspiring idealism, hope for the future, and for a better world. An excursion into a perceptible, fleeting, and decisive moment when everything comes to the fore, in all its innocence and insight. The impermanence and beautiful volatility of adolescence. Tapping into nostalgia might’ve stirred up a kind of melancholy. Youth is fleeting, and so is freedom.
Oversized silhouettes dominated the runway, along with dresses layered over chunky sweaters. Louis Vuitton presented his own take on androgynous tailoring as seen on the bulky outerwear paired with collared shirts and ties. Elsewhere, the designer mixed prints and patterns, while rugby shirts were placed over flowy evening dresses. Louis Vuitton channeling the sense of youthful experimentation of remembers, topped evening dresses with sporty rugby shirts or chunky sweaters wrapped around waists. Louis Vuitton played with androgynous tailoring, often in oversized shapes. Other silhouettes looked delineated from Ghesquière’s more extravagant collection for spring, the pannier and bustle shapes were remixed in softer embroidered knit and tweed, which made them look more everyday. The randomness was part of the point.
Akris showcase the collection with a fashion film, a magnificent new extension to the city’s university is constructed out of modular squares. Gets inspired by an artist and was gobsmacked how Reinhard Voigt’s pixellated paintings from the ’60s and ’70s foreshadowed our obsession with digital devices and screens. He faithfully reproduced one work of a woman’s pixellated face on sweaters and a long, sleeveless dress with a pleated skirt.
The key motif in his fall Akris collection, informing the patterns for skirts, the shape of sweaters, the embroideries and prints. Kriemler and his crew gained access to the striking building by architect Sou Fujimoto immediately after it was inaugurated, and just before classes started. Fabric innovation is another driver, and what Akris uses typically melts in your hand. Even lightweight, stretch Neoprene, cut into sleek pantsuits with a subtle ’70s flare, or a parka in loud, pixellated blocks of color, felt like silk.
Chanel’s collection represent Scotland’s River Tweed with an earthy light brown for the seats, black with shots of pop colors on the walls, and a pale green for the runway. The region was ground well-trod by Gabrielle Chanel, on her walks in the local countryside she gathered flowers and greenery as references for the colors she wanted from the fabric makers there. The collection’s brooding romance was replaced here with a vibe brighter and more upbeat, as is Viard’s inclination. She has a good sense for how young women want to wear Chanel for everyday, unpretentiously and with a lot of ease.
Chanel used thread for fall and tweed on multi-pocket hunting jackets and coats that incorporated downy-looking fleece, and for slightly oversized men’s jackets of the sort Chanel lifted from her lover the Duke of Westminster. In photos taken at his lodge in Lochmore and on the terrace at his Eaton Hall country house she wears his borrowed clothes and rubber boots. Viard conjured that weekend getaway spirit with colorful thick-ribbed tights and rubber Wellies or thigh-high waders stamped with the famous interlocking double C. Tweedy shorts suits tapped into that energy as did a pair of short leather shifts. The shiny black kitten heel skimmers the models wore could give the cap-toe slingbacks so beloved by the fashion crowd.
Takahiromiyashita The Soloist
Sacai and Yohji Yamamoto’s collection entitled The Era, showcase by a fashion film riff with passion and precision music. Inspired by “Fifth Beatle” Billy Preston’s improvisational impact on music. Elusive as ever, Miyashita presented a film in which four models wearing balaclavas, cocoon-shaped coats, and skinny jeans were only ever seen from behind. The coats, including a pink-to-purple duffle, a shearling, and an elongated black bomber, mostly featured a zipper that ran from the left shoulder down to the right hip. The design was imposing a consistent silhouette across various greatest hits in generic menswear; the peacoat, the trench, the aviator, the cardigan, the duffle, and a cool dark furry-looking piece.
Nehera collection highlight tailoring, the most defining characteristic substance of the brand. The design respond to the present desire for clothes that can segue from home to office and back again. Comfortable but polished seems to be what women are demanding these days. At Nehera, clothes are designed to be in service of the wearer, allowing her to adapt them to match her moods. Some pieces can even be customized. A puffer jacket is made of two halves buttoned together; so is a trench that also has adjustable sleeves. There are also detachable pouch pockets, some bulky to strap on or off at will.
Miu Miu’s collection disrupting dress codes again with embodiment workaholic and more of a sports freak. The design set sights on the tennis court, giving Wimbledon officials more than they bargained for in super-short, low-riding Y2K skirts and tops with cheekily placed see-through lace panels. A more gender-diverse expression of the Miu Miu person took shape, demonstrating how the skimpy silhouette also works on nonbinary and traditionally masculine physiques.
Petar Petrov’s collection with more grounded this season, offering a range of styling options with clothes that can be adapted whatever the occasion. The design is cool and easy but a bit more sexy. A strong range of outerwear options went from classic, well-crafted masculine wool overcoats to ’60s-inspired shearling pieces and padded jackets.
Crafted from stretch silk, these versatile pieces were worked in earthy tones or in a print reprising the motifs of the knitwear that underpinned the collection. When it came to knits, there was also a selection of body-hugging ribbed silk pieces with asymmetric cutout details and high buttoned choker collars, summing up Petrov’s sensual yet versatile and wearable ethos for the season. The pants and tailoring were true to the slimline silhouette, while Japanese denim pieces – introduced a year ago – sat low on the hips. Other standouts included a black leather dress with cap sleeves and an integrated belt that allowed it to be worn in several ways and a dress in burnished yellow velvet with a V back and tie details.