Paris Fashion Week 24

Between power and creativity

What was in the air at Paris Fashion Week 24? Less excessive designs, except for a few ones. In general, more elegance and simplicity. As well as in Milano, collections seemed to be more wearable.

Every season, the fashion Maisons presents high-budget commercial shows competing with the best location. Luxury venues contribute to making it a matter of power more than creativity. For instance, Eiffel’s background at Saint Laurent was impressive. However, we found intriguing the image of a worker-chic woman.

Above all, we applaud the Undercover brand, which really stood out with its essential but very evocative presentation. Its fashion show had the feeling of poetry with suits, sweatshirts, jewellery and chandeliers encapsulated in tulle. Also, the dreamy atmosphere piqued in the finale, with terrific x-ray terrarium dresses, was so mind-blowing, the chills it gave us!

Apart from the overall mood and the idea of style, we cannot understand the choice of switching Sarah Burton with the umpteenth young male designer. Sarah Burton’s collection for McQueen SS24 is absolutely stunning: a maxi red rose printed on a white slip dress or two evening gowns that seem like petals that fluctuate at every step, revealing the shade of colours. Isn’t the Kering group satisfied? Seán McGirr, the new designer, comes from JW Anderson, a move that gives the idea of a more commercial take. Perhaps they believe McQueen must reach a larger audience to grow and make more money, assuming McQueen can be a mass brand.

But what do these groups try to do? Such a move reminds us of the game played with Margiela. Perhaps they made it for a larger audience, but it’s not Margiela anymore. Will this be the path for McQueen, too?

In the end, celebrities and more celebrities. No big risk. The Paris Fashion Week 24 seems to be a matter of power and money more than creativity.

Paris Couture Week

Sadness takes it all

Boring was the fil rouge of the Paris Couture Week, to the point of taking a nap. With very few exceptions.

The negative sentiment prevailed.
Paris for couture has always meant creativity at its peak. Maybe clothes you wouldn’t wear every day. Or not even once in a lifetime. But couture was the dream, the beauty of creativity skillfully made.
This time, brands told a flat story of bland uniformity. In order to sell in a difficult moment, they’d rather lose idiosyncrasy. What made them special. The reason we recognize them.

Infused with the fear of losing share, or determined to transform themselves into economic giants, they trampled on their own heritage.

Paris Couture Week
The tedious

Dior: perhaps wearable, but now it looks like many others. In fact, we still see Red Valentino in there more than Dior’s heritage.

Chanel: the DNA seemed watered down.

Gaultier: we understand the collaborations, but where’s the Gaultier spirit?

A partial exception
Schiapparelli: designs weren’t all his ideas, but, at least, the collection was impactful.

The exception

Valentino: this is Couture. Italian creativity.
Suzy Menkes wrote that Piccioli had a strong statement to make: women are not all the same. Yes, definitely. But even more, whatever the body shape he represented, women were dressed with elegance. And now that elegance is not in fashion anymore, that stood out most.

However, the idea of showing diverse body shapes in couture is good. But you may wonder if all those women who bought couture so far had the same silhouette of the models. Of course not! But they bought it anyway! You don’t buy couture if you feel represented, you buy it if you can afford it.

Because that’s what couture is: made to measure – made to order for very few lucky ones.

In the end, we understand this is not a good time for creativity, and lowering the bar is a way to reach the masses. But transforming brands into a blob deprived of any identity makes no sense.

Paris Fashion Week – En plein air!

A couple of messages seem clear from Paris Fashion Week. Apart from the most evident fact that nothing truly has changed. The idea of renovating a system, so discussed during the pandemic, changing its outdated foundations, providing new guiding principles and deeper values — has failed miserably. That’s what fashion ruled by finance does. Forget lesser productions with better quality – this is not for corporations.

Image of Paris during fashion week

So, what are the takeaways from Paris fashion shows

Paris Fashion Week: SS22 trends

Nature’s calling
Sea, trees, woods. This message seemed quite strong. Indeed, many designers have set up their fashion shows immersed in nature. As to celebrate something we all missed for over a year or more. Or a desire to reconnect with our so mistreated vital element.

Clothes have no gender
We saw male models walking the runway in skirts or dresses and females in man’s suits – interchangeable genderless outfits. Not that it’s something new. In fact, Gaultier already did it about 40 years ago. But perhaps, the time is ripe now for a wider audience. 

At this point, garments have lost their traditional gender connotation. An aesthetic that, from a historical viewpoint, has been developed as a reflection of patriarchy.
We understand this is a big topic. Indeed, it requires a deeper analysis, a full exploration. So we will dedicate a whole post later on. However, coming from a Gaultier influence, we always picked out men’s pieces for women or vice versa. If a garment looks good, no matter if it’s men’s or women’s. From now on, we hope there is a free attitude towards how clothing is perceived.

Garments are not stand-alone pieces. They become alive once we wear them. Without our intervention, clothes are empty. It’s us and our personality that completes them. 

The way we represent clothes, the way we portray them is called style. 
It’s an individual posture, the reflection of who we are.