Mood board: The collection saw Simons riffing on punk. Super wide coats in shiny satins and saccharine hues came with large globular studs. Skinny silk tops were pleated and draped formally at the neck; silver rings swung gently from tabs applied all over the front of jersey roll necks. The clothes had a pop art decadence. A mashing up of decoration and destruction. Lurex sweaters had rogue neck holes; archival portraits on t-shirts were studded with diamanté earrings.
Scene setting: Simons retuned to Paris after showing his namesake collection in New York last season. Guests were invited to an old metal works in Montreuil, deep in the eastern suburbs of Paris. Inside the industrial space, a large, low catwalk was installed with metallic female mannequins suspended from the ceiling and draped in the manner of Allen Jones next to baroque mirrors. The mood was sexual and dark. Lasers scanned the room. The hubbub from the assembled crowd including Kim Jones, Naomi Campbell, A$AP Rocky and Takashi Murakami was feverish – the room throbbed with anticipation.
Finishing touches: Stand out were the louche wool overcoats slashed out to expose their inner workings; their silky linings and exposed wadding had a poetic urgency. Models wore leather net tops based on the construction of plastic beer can rings, or held metallic skins studded with aluminum cans.
