Anrealage: Kunihiko Morinaga has a way of keeping his public interested in his collections. What started as a bit of a tech gimmick which could have quickly be tired has turned into a continuously evolving trademark. Case in point: yesterday’s show was inspired by prisms, and the way they reflect natural light, turning it into different colours depending on the viewer’s perspective. This translated into rainbow-like digital prints and textured PVC which almost looked 3D, as well as actual 3D ruffled plastic serving as ornamentation for the otherwise pared-down, very Japanese dresses and shirts. But perhaps the best — and most unexpected — thing about the collection were the woollen jumpers: chunky knits cut in oversized, cozy shapes and woven in neon colours in triangular shapes, easily wearable and infinitely desirable in this week’s Paris polar temperatures. We’d love to see more of those — and more colour play — in the next collections. Photography: Jason Lloyd-Evans
Maison Margiela: John Galliano has developed a fascination for déshabillé glamour on the move, and for A/W 2018 he delved into the idea of dressing in reverse, like pairing a trench coat under a dress or a fisherman’s knit under a clear plastic skirt. Galliano used materials to create the impression of one garment imprinted on another, and took futuristic fabrics from the the brand’s artisanal collection including holographic and flash-sensitive fabrics, crafted into suits and dresses. Perfect for the sub-zero temperatures in Paris, the brand also offered a series of oversized gilets and anoraks with cocooning shoulders and puffy sleeves. Photography: Jason Lloyd-Evans
Marine Serre: the prevalent idea of what a Parisian girl looks like — haphazard, almost inevitable chic, perfecto biker jackets and a studied negligence of the hair — has in fact little to do with the aesthetic aspirations of the French capital’s creative set. And it has been more than proved in the last few seasons, thanks to designers who really resonate with Parisians, including Y/Project’s Glenn Martens, Koché, Wanda Nylon and, now more than anyone, Marine Serre. The winner of the latest LVMH Prize stands up for her straightforward sense of what’s wearable, without ever sacrificing creativity. It was the case in her yesterday’s show, held in the far-flung corners of the 19è arrondissement and attended by the fashion set in bulk (even Michèle Lamy was there). Not hard to understand such a turnout, given the brilliantly put together looks mixing dayglo transparent plastic raincoats, super practical T-shirts and cycling pants and, especially, her flowy dresses patchworked from upcycled silk scarves (her spheric handbags were covered in foulards as well). The young designer clearly understands what the Parisian girl really wants, not only in terms of looks but also of lifestyle. And we can’t wait to see more of that. Photography: Jason Lloyd-Evans
Stella Luna: the footwear brand catered to all climates for A/W 2018. For a warm Indian summer there are soft leather knee-high boots with a short block heel and patent leather sock boots. For night owls, lace up booties with sparkling laces and festive pumps embellished with ruffles or glitter heels are the ultimate footwear options . For an icy winter day (one well noted on this seasons calendar), the collection offers a furry collection of flats and comfortable boots.
Racil: designer Racil Chalhoub presented her debut A/W 2018 Paris presentation at the Bar Hemingway at the Ritz. It was a fitting location as Chalhoub grew up in Paris, and her designs reimagine the famed Le Smoking silhouette. Guests munched on miniature hotdogs and burgers and sipped on fizzy cocktails, as models sported new suit silhouettes in bold primary hues, check and sugary velvet devoré. Silk slip dresses nodded to the glamour of Hollywood starlets like Vivien Leigh and Rita Hayworth.
Haider Ackermann: out of the smoke appeared girls with punk-ish mullet hairdos wearing strong tailored silhouettes and floating silk dresses. For his A/W 2018 collection, Haider Ackermann chose a palette of muted pink, brown tones and grey, elevated with saturated green lace-up ankle boots and blue tights. Tailored jackets and an orange silk suit were given a fragile touch through the use of subtle floral embroideries, whilst fine ruffles appeared on the collars and sleeves of short sporty dresses. Photography: Jason Lloyd-Evans
Noir Kei Ninomiya: for his first fully fledged runway show, held at the Faculté de Pharmacie de Paris (where the Junya Watanabe show had taken place an hour before, the Japanese designer presented a collection rich in experimentation and technical prowess. Sculptural dresses, formed from fronds and bugles of organza and tulle, bobbed down the catwalk, paired with frothy sleeve trench coats, biker jackets and gauzy cropped jackets. Ninomiya, like Watanabe, who also designs under the Comme des Garçons umbrella, shows wonderful proclivity for balancing the avant-garde with the commercial. The collected boasted both a bustle-like knitted dress, alongside a full net skirt or a cropped cape. Adding an ethereality to the collection, Ninomiya’s models walked the runway wearing floral masks and headdresses, formed from tropical blooms. A moment of serenity amongst the breakneck speed of Paris Fashion Week.
Thom Browne: why Thom Browne is not yet showing his collections in Paris during couture is still an enigma. The American designer’s handiwork is just as impressive and meticulous — and far more creative — than most of the guest members of the Chambre Syndicale. We had proof again during a show held at the Hôtel de Ville (the designer’s new Parisian venue since last season). This time, it was a homage to…fashion. In what felt very meta, models clad in corseted dresses that could have belonged in the late 1800s posed in a mid-century fashion while, in the background, Madonna sang Vogue. It was all typical Browne, from the glacial pace at which the models moved and their 1930s- inspired glittery wigs (we have actually seen a lot of glittery hair this week, a fun trend if not the most sustainable one) to the exclusively grey palette. The catchy 90s tunes, the womanly style of the models (no girls here, this was a truly grown-up affair) and the theatricality of the show made us feel as if we were time-traveling, back to the golden era of fashion shows, when it was about the fun as much as about the product. And yet, nostalgia was somehow out of the equation. It’s just that Thom Browne still lives (and shows his collections) that way. Bless him for that. Photography: Jason Lloyd-Evans
Pierre Hardy: the footwear extraordinaire presented his latest collection in the splendid rooms of a Parisian apartment. Mirrored blocks lined the wood panelled floor, presenting Hardy’s latest hybrid and ostentatious designs, which included glittering jacquard Western boots, wedged ponyskin mules, chunky hiking boots and a pair of delicate floral jacquard dancing shoes, a hybrid between an ankle boot and a dainty kitten heel. Photography: Paul Mouginot
Chaos: much like the brand’s name suggests, the setting of the presentation projected a tastefully chaotic atmosphere combining a baroque-like palette and modern white textured furniture. The luxury tech brand, founded by Charlotte Stockdale and Katie Lyall, made its debut at Paris Fashion Week with a presentation of a number of tech accessories inspired by the collection’s ‘dare devil’ theme. Classic motifs such as a double cherry and a pulsing heart were to be seen embroidered and printed on phone cases and bag charms, as well as letters of the alphabet in a bubble font.
Yohji Yamamoto: the Japanese designer dedicated his A/W 2018 collection to his friend and counterpart Azzedine Alaïa, who passed away at the age of 82 last November. Both powerful visionaries who resisted trends (Alaïa, even presented his collections away from the Paris Fashion Week schedule), Yamamoto’s largely black collection featured hints of Alaïa’s sensual design aesthetic, like leather corsets layered over deconstructed blazers, draped silk dresses and exquisitely tailored coats which skimmed the body. Elsewhere, outerwear was constructed from layer upon layer of fabric, finely swathing the body in beautiful folds of fabric. Photography: Jason Lloyd-Evans
Oyuna: for A/W 2018 Oyuna was inspired by the simplicity and unexpected constructions of an envelope. The shape of this timeless object was seen in the composition of the garments, and its closing function formed the base for several playful closure details on outerwear. Apart from black, the collection offered a palette of greyish army green, blueberry blue, and tones of merlot. Oyuna’s signature puff design was transformed in knitted cashmere scarf, which also can be worn as a cape and features stitches in the form of an envelope. We’d happily find every piece in our mailbox.
Ann Demeulemeester: there was a dark gothicisim to creative director Sébastien Meunier’s A/W 2018 collection for the Belgian house. Constructed in a colour palette of black and white, this was an offering of draped overcoats, capes and blouses, paired with skinny trousers and full leather skirts, all accessorised with thigh-high leather boots and swashbuckling elbow length gloves. Part pirate part fetish, pieces were paired with swathes of leather belts, which unbuckled with a provocative sense of the undone. Photography: Jason Lloyd-Evans
Carven: for his second runway collection at the French house, Serge Ruffieux was inspired by today’s concept of luxury dressing, and the idea of mixing different genres and ideas. This culminated in a pretty and versatile collection of wearable pieces, from ruched leather dresses with floral silk sleeves, parkas with tropical motifs, quilted jackets and tweed trousers suits. There were plaids and checks, frayed hems and a good helping of floral print, pieces to be mixed and matched by the imaginative Carven woman. Photography: Jason Lloyd-Evans
Le Bon Marché: the department store in Zola’s 1883 novel The Ladies Paradise, was modelled on the opulent architecture and exquisite goods found at Le Bon Marché. This week the renowned store launched ‘Let’s Go Logo!’ an exhibition featuring 130 exclusive logo themed capsule collections from brands including Miu Miu and Fendi, guaranteed to stir up as much exaltation as the scenes in Zola’s novel. The space includes a dedicated floor curated by Off-White, lined with white tiles and populated with branded umbrella and classic brasserie seating.
Atlein: Antonin Tron presented his latest Atlein collection at the Institut du Monde Arabe, one inspired by a description of the sea in William Finnegan’s ’Barbarian Days: A Surfing Life’ (2015). Surfing tropes seeped into his A/W 2018 offering, which featured skinny wetsuit trousers paired with chunky knitwear and blazers. Garments fluidly ruched and draped around the body, like body hugging elasticated dresses and blouses, paired with city-chic double lapel overcoats, cable knit dresses and cropped sweaters. Wearable, functional and wave-making for autumn. Photography: Jason Lloyd-Evans
Tomasini: designer Emmanuel Tomasini added footwear to his bag label for A/W 2018, a collection brimming with graphic details, smatterings of mosaic and animal print. A shoulder bag featured panels of striped collegiate scarf silk, while a pair of elegant black stilettos came in sleek black snakeskin.
Andreas Kronthaler for Vivienne Westwood: ’God, how long have we known each other! I want to pay homage to you as my collaborator, my friend and partner, my teacher and of course my muse’. Thus read Andreas Kronthaler’s love letter to Vivienne Westwood, which was at the inception of the sartorial love letter that was his latest collection for the brand. In a show at the Pavillon Cambon peppered with celebrities — we have seen quite a lot of Selah Marley in Paris this season, but not so much of Die Antwoord’s Yolandi and Ninja — the German designer reworked some of Dame Viv’s highlights through the decades, starting with the 70s Teddy Boys suits and swiftly moving on to punk icons, mini crinis, 90s exaggerated shapes and 2000s rainbow warrior uniforms. And yet there was very little nostalgia here. As a matter of fact, it was the brand’s most modern show in a while. Artfully mixed among the unmistakeably Vivienne pieces were multiple winks to everything that defines the current zeitgeist, from the modest dressing to the intersectional pieces, the queer vibes and the ultra diverse casting (a true example of inclusivity). Sitting on the front row was even Rose McGowan, the notorious co-starter of the #MeToo movement. Her presence tied the show together, and left us wondering whether #TimesUp will be the designer’s next activism project... Photography: Jason Lloyd-Evans
Elie Saab: ’Come as you are’ in a string quartet’s version: the music at the beginning of the Elie Saab show was also the perfect metaphor to his latest collection. Not that the designer has veered away from the ultra glamorous look that still makes him the darling of socialites and mondaines all over the world. But, this time, he took the staples of (dare we say it?) rock’n’roll dressing and reworked them Saab-style. The result were a series of suede fringed jackets, leather perfectos and long dresses inspired both by the Victorian era and hippyism. Although, of course, nothing was hippy about the Elie Saab woman: she looked polished and ready for an Embassy ball at all times. As she always does, especially towards the end of the show, when the designer’s staples — powder pink, sequins and long lace dresses, this time decorated with ruffles, statement sleeves and velvet ribbons — made their appearance. The designer knows very well who his client is and unfailingly caters to her, which is not a given in today’s fashion landscape. And for that, we have to say chapeau. Photography: Jason Lloyd-Evans
Germanier: Swiss designer Kevin Germanier presented his debut collection under his eponymous label Germanier — one that mixes an embellished couture aesthetic with a sustainable output. The designer takes vintage pieces, like old jeans, antique clasp bags and men’s jackets and covers them with layers of colourful beads, using his own silicone gel. Working using trial and error, Germanier doesn’t plan the finish of each design, he works with a spontaneous output, placing focus in the beauty of rips and tears, like the ladder of a tight, or the hole of a jean. Photography: Nikolay Biryukov
Delvaux: the Belgian accessories house presented a collection rich in alluring new details. Bags were detailed with strips of holographic leather, while pieces in a new shade of blue had a mother of pearl-treated glamorous iridescence. Other styles featured detachable spheres of leather, resembling delicate paper lanterns or folds of origami.
Le Gramme: founders Adrien Messié and Erwan Le Louër invited us to an old dance school where we found the jewellery and lifestyle brand’s A/W 2018 collection captured in large blocks of ice. New this season is a bracelet that has the look of an industrial cable and closes with a screw fastening. The cable is available in three different thicknesses and comes in silver or yellow gold. The duo also launched a new version of their signature cuff, which features elegant thin cut out strips. To top it off, Le Gramme offered a selection of new rings, which are slightly thinner. As one can expect from Le Gramme, the new styles can be worn by both men and women. We’ll happily wait until the ice has melted.
A_ Plan_Application: Germany-born London-based artist Anna Blessman was invited by Off-White’s Virgil Abloh to create a collection inspired by the necessities of everyday life, and the desire to work, live and play in a simple yet exquisitely constructed uniform. Her resulting debut collection is comprised of a series of utility-focused classic silhouettes, including cotton drill sweatshirts, draped wool coats and mid heel sock boots in navy, white and bright blue.
Marimekko: the brand’s presentation was staged at an old Parisian printing house. Large silk screen windows featuring Marimekko prints surrounded the space and models walked in rotation wearing modern folkloric silhouettes inspired by the vast winter landscapes of Lapland. There were voluminous padded A-line coats, comforting thick knits and masculine oversized shirts. Some of the patterns used in the collection dated back to the fifties and sixties but were updated with newly designed prints executed in velvet and silk.
AF Vandevorst: husband and wife design duo Filip Arickx and An Vandevorst took inspiration from the details of ready-to-wear for their A/W 2018 footwear offering, creating ankle and thigh high boots with details inspired by the elasticated details of bomber jackets and cargo trousers. The Belgian brand, which celebrates its 20th anniversary this year, also presented its first sneaker design. This chunky soled silhouette features the details of traditional trainers cut and spliced together for original effect.
Ottolinger: on a rainy afternoon Berlin-based Ottolinger took us window shopping. In a small street in Le Marais, living mannequins popped up in the windows of several shops wearing the brand’s offering for next season. The Swissh heritage of founders Christina Bosch and Cosima Gadient, was evoked in the furry finishing of the shoes and garments. Thick wool was knitted into asymmetric fringed skirts and off-shoulder cable sweaters, whilst psychedelic prints were easily mixed with distressed silk tops that featured burnt looking edges.
Christian Louboutin: the footwear extraordinaire presented an imaginative range of designs, from clear plastic stiletto boots trapping layers of ripped paper torn from the brand’s shopping bags, to kitten heels showcasing the tools of shoe design, like bows tied from tape measures, cork panels and metal heels. The designer was also inspired by colourful tapestries, and these metallic boots and bags have a futuristic seventies flair.
Lacoste: never has there been more conversation in fashion around sustainability, and for A/W 2018, Lacoste’s Felipe Oliveira Baptista looked back to the history of the house and the fact René Lacoste and his wife, Simone Thion de la Chaume employed 50,000 people to plant trees on a golf course in Chantaco to spare people from mandatory work in Germany after WWII. This was a nature loving collection populated with lush shades of green, featuring ponchos, plaids, and photo prints of the Lacoste family on their land. Photography: Jason Lloyd-Evans
APC: Jean Touitou likes a family vibe. For years, his presentations have been small affairs at his brand’s HQ in Rue Madame. This time was no different, although it was a proper mens and womens show — a first. However, the flocks of streetstyle photographers outside the Rive Gauche building were telling of the kind of guests in attendance. On the front row was Isabelle Huppert (pretty much France’s answer to royalty) mingled with Virgil Abloh, making insiders speculate whether a collaboration might be on the works (after all, Abloh is collaborating pretty much with everybody these days). As for the collection, it was classic APC: timeless Parisian basics, large chino-type trousers and intarsia sweaters for the men, dresses and skirts for the women — no trousers. Touitou stressed he wanted his collection to remain ultra feminine. It was all about proportion play, in mini, midi and maxi, the best — and most innovative-feeling pieces being the longest, particularly a trench coat worn by Marjan Jonkman. It’s this kind of ’classiques twistés’ that makes true fans out of the brand’s clients.
Robert Clergerie: for his second collection as creative director of the footwear house, David Tourniaire-Beauciel showcased a series of innovative and sculptural designs. There were high top trainers hand woven in Morocco, Prince of Wales check boots with undulating wedge heels chunky eyelet studded brogues and a pair of boots with sculptural metal heels, inspired by archive Clergerie silhouettes.
Magda Butrym: the Polish designer was in a Wild West mood for autumn, saddling up with a collection that would make Dolly Parton proud. There were gauzy party dresses with detachable marabou trim, fringed leather skirts, fur coats and knits with pretty floral beading. Butrym produces her collection in Poland using Italian fabrics, and her A/W 2018 offering featured an extension of footwear and jewellery styles, including pearl drop hoop earrings and diamanté embellished mules with oversized bows. Giddy up!
Theory: this year marks the 20th anniversary for Theory. In celebration the brand is committing to become fully sustainable. As a start the collection featured faux shearling as well as a mix of both real and vegan leather. It was hard to tell the difference between the two. Tailoring has always been a strong element of the brand, this season suits are offered in a variation of styles and materials, from a grey asymmetric set to black velvet and fabrics previously only used in the menswear line. From there, the collection took the best of each era. Starting at a sixties colour palette and boxy mini skirts to seventies corduroy and ending with a nineties leather slip dress. We look forward to seeing what the brand has in store for the next 20 years.
Delfina Delettrez: the jewelers latest ZIP code collection was designed in honour of her recently born twin boys. In homage to the power of two, several pieces of the collection had a double function. The freshwater pearl on several necklaces and earrings appears on the end of a zip, which can be pulled to open a wider silhouette. The modular zip design doubles up as a a fastening, both playful and practical.
Moynat: the Parisian accessories house developed a new embellishment technique for its A/W 2018 offering, inscribing gold leaf onto leather in delicate patterns and motifs. It also presented its Réjane bag in new shades including sorbet tones of yellow and green, summery shades to speed you through the cold winter months.
Vanessa Seward: the designer’s song and dance focused runway show, held in the rooms of the Argentinean Embassy featured an energetic interlude from a musical quartet. Pre and post the lively rendition, models strutted in the Parisian silhouettes that Seward is loved for, like inky blue velvet suits, seventies denim skirt suits, full corduroy skirts, jumpsuits and zebra print blouses. There was Argentinean energy to the capes, cowskin boots and rodeo shirts also on display, which are sure to be hits come autumn.
Hermès: the luxury Parisian label presented its latest Pierre Hardy-designed accessory creations in a surrealist presentation space, featuring walls of windows with model’s legs peeping through, and uneven carpeted surfaces. The house debuted a range of elegant and imaginative pieces, like monochrome women’s heeled boots with colourful rubber soles and chunky men’s loafers. There were men’s brogues with punky hoop details, metallic hybrids of ankle boots and loafers, and sleek sock style men’s trainers. Photography: Christophe Coenon
Alexandre Birman: the designer presented a pointy and playful offering of powerful boots, heeled sandals and elegant slip-ons. Mules featuring a small kitten heel were imagined in metallic snakeskin or embroidered with a bold bow. Elsewhere, we spotted soft lamb leather Victorian lace-up booties, and others detailed with an intrciate ruching effect. For the first time the designer has also opted to work with velvet polka dots and sequins.
Roger Vivier: after a sixteen-year tenure at the creative helm of the accessories brand, Bruno Frisoni presented his final collection for Roger Vivier. This was an ostentatious and embellishment heavy offering, and there was a touch of rodeo flair to knee high Western boots and sporty swag to bedazzled bum bags. Frisoni’s final collection was topped off with a boudoir sensibility, like bags made from glittering cigarette boxes, velvet slippers and tasseled stilettos.
Nehera: the brand eschewed a typical runway show, instead presenting its A/W 2018 collection alongside an exhibition of wintery images lensed by photographer Michal Pudelka, who also worked on the brand’s S/S 2018 campaign. Last season Nehera looked to the breeze of spring for inspiration, and for autumn it was inspired by the idea of protection from polar winds. This was a collection that swathed and enveloped the body, with velvet towelling jumpsuits and blanket coats in wrinkled double face wool, and snuggly quilted jackets. Aviator cape and pouch pockets added to the sense of comfort and warmth.
Francesco Russo: Russo was inspired by both the eighties and the bold attitude of the women in his family for A/W 2018. Western boots featured flaming side decoration and some of the classic Russo styles featured PVC-detail makeovers. Flat boots, pointy mules and ankle boots were covered with an embroidered leather and suede zebra print. Time to walk on the wild side.
Alexandra Golovanoff: the cashmere dedicated offering of Alexandra Golovanoff is slowly but steadily expanding. For A/W 2018 the designer added cashmere leggings to her collection, which were brought to life by dancers of the Royal Opéra, all worn with matching sweaters in blue grey, dark red and bright yellow. Each season the colour range grows too, this time Golovanoff opted for a deep purple and different shades of green.
Mame Kurogouchi: Japanese designer Mame Kurogouchi studied at Bunka Fashion College and worked at the Issey Miyake A-POC line before founding her own label in 2010. The designer brings together the traditional and contemporary worlds of her home country. Clear PVC bags are finished with bamboo handles and the straw Japanese Mino coat is constructed in braided hand cut leather and tassels. For Kurogouchi, inspiration also comes from everyday life, whether it’s the stepping stones in the garden of her office transformed into jacquard print, or the teal colour of the Parisian trash bags evoked in knitted dresses.
Céline: the brand’s A/W 2018 collection was presented at its Rue Vivienne HQ, and designed by the brand’s in-house team before its new artistic, creative and image director Hedi Slimane presents his debut for the house in September. It was a reflection of the details and silhouettes which the brand has become lauded for, and presented insouciant yet intelligent pieces for autumn, like cape detail sweaters, painterly silk dresses, relaxed trouser suits and ruched leather coats. Toggles which resembled antique hair pins were used to bunch up jumpers and knitted dresses, and ever practical, a trenchcoat came with a built in backpack.
Poiret: awakening a dormant brand (what the industry professionals call a ’sleeping beauty’) is, in a way, akin to trying to wake a sleepwalker: if you go about it the wrong way, it could prove fatal. Which explains why a good chunk of the industry entering the first Poiret show in 90 years felt both anticipation and enthusiastic expectation. The brand is now owned by South Korean company Shinsegae International, which has brought in the Paris-based designer Yiqing Yin (the haute-couturier mostly known for her brief stint at Léonard, another historical Parisian brand) to design it. This partnership resulted in a collection which payed homage to the designer who freed women from the corset through a choice of decadent materials and draped shapes. For A/W 2018, kimono coats tied in the front with a bow had delicate appeal, the brand’s signature draping was evoked in liquid silk jumpsuits and skirts, and modern flourishes included metallic leather, irregular embroidered detailing and industrial-inspired jewellery.
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