Dries Van Noten’s show in the atmospheric Museé Bourdelle featured a plaster version of Emile Antoine Bourdelle’s ‘Centaure Mourant’ (1914).
The Jean Paul Gaultier venue, where the ’James Blonde’-titled show opened with four masked ninjas - The Yamakasi - performing acrobatics to the famous 007 soundtrack.
The Louis Vuitton show venue at Halle Freyssinet, featuring a stark ’Louis Vuitton’ super-sized neon sign at the catwalk’s head.
Photograph courtesy of Antoine de Parceval
Over at the 11th arrondissement, the grand façade of Maison des Métallos led in to an intimate setting for the Comme des Garçons show.
The Kris Van Assche show took place in the industrial mezzanine space at Le Palais de Tokyo, with show production by Villa Eugenie.
Junya Watanabe Man was showcased in the minimal dwellings of Maison des Métallos – Salle Claire, where the massive space allowed a few extra scenes to be added to the catwalk, like this park bench.
The Acne show, produced by Picnic Production, saw the collection’s grown-up boys strut around the space of La Maison Rouge, Fondation Antoine de Galbert, in their tailored best.
Paul Smith decided to off set the stark concrete shell of the show’s setting with sleek glossy wooden benches, with the help of show producers la Mode en Images.
The dramatic Thom Browne set at The Westin’s Vendome La Salle Imperiale, masterfully produced by Etienne Russo of Villa Eugenie.
Photographs courtesy of Dan and Corina Lecca
Kris Van Assche’s idea for the Dior Homme show at the Tennis Club de Paris was to recreate an elegant, typically Parisian apartment, but one reduced to its strictest codes where only the essentials remained - the parquet floor, fireplaces and chandeliers.
’Keep things clean and simple’ was the motto for Raf Simons at La Maison Rouge.
The Hermès venue at Cite de l’Architecture, where the show was produced by Etienne Russo of Villa Eugenie.
John Galliano’s collection inspiration was the dancer Rudolf Nureyev, and the venue of Couvent des Cordeliers, Rue de l”Ecole de Medecine, was theatrically dressed with props like suitcases and oil lamps to go with the designer’s theme.
Maison Martin Margiela’s conceptual approach involved a white curtain being drawn to reveal a ’backstage’ section, complete with models being groomed, styled and lining up to enter a fictional catwalk.