What does this say about strong women?Can we know them, can we be them, can we raise them. . . Can we dress like them? In fact, the cri de coeur of Paris Fashion Week, where the shoulders protruded from the body, the waists were tightened to flatter and exhibit the female figure and the dresses were as sublime as they were sensational.
Containment dressing? It’s over. As we come out of 3 years of leggings and sneakers, the designers’ message is clear: get up, get dressed, faint, and look smart while you’re at it.
Dior sent its models monumental paintings suspended through the Portuguese artist Joana Vasconcelos.
Last week, Paris hosted the autumn/winter ready-to-wear collections at the industry’s most luxurious and luxurious exhibition since the pandemic temporarily shut down everything in March 2020 (keen observers will see the flood of fashion editors outside Milan at the time).
Dior kicked off the week with an exhibit celebrating what space does best: a refined combination of modernity with more than just a fancy nod to history. In the Tuileries Garden, Dior received 1400 media and customers, as well as a handful of smart Korean pop stars: in a stadium the length of a football stadium, built especially for the occasion. Hanging from the ceiling was a sculpture, Valkyrie Miss Dior, by Portuguese artist Joana Vasconcelos. Made with pieces of Dior fabric, it gave the impression of an immersive set: we were no longer in Paris or France. We were in Dior’s hands, and that’s precisely where we needed to be.
Beautiful and perfectly matched in Dior’s autumn-winter 2023 ready-to-wear collection
Creative director Maria Grazia Chiuri showed off pencil skirts with mohair sweaters, socks under stilettos, New Look style jackets over bras, gloves and berets. with permission from Nigerian Chimamanda Ngozi Adichie). The models paraded to the rhythm of Edith Piaf’s signature melody, setting the tone for a week committed to the fashion of forcibly dressing. shone in this collection), also shows a skillful hand with sensual masculinity and natural pragmatism (this dress, for example, has a clever look in Array pockets. . !).
Elsewhere, here are the low-waisted pants with the tie, the leather jacket over the silk skirt.
At Loewe, Jonathan Anderson played with textures and prints.
A few days later, a tired-looking Jonathan Anderson (who also brought his own logo in London two weeks ago) presented a collection for Loewe, bridging the romantic with the practical. The crowd was filled with celebrities: Naomi Campbell (who later paraded through McQueen), Catherine O’Hara, Dan Levy, Chloë Sevigny, Kacey Musgraves, as well as many other K-pop stars, buzzed around the set, where cube-shaped confetti sculptures by Italian artist Lara Favaretto, compressed with nothing yet. Strength and hope, collapsed elegantly on the ground as the models passed.
By opening up to silk changes in blurred prints, the barriers between masculinity and femininity have become difficult to discern (and, in fact, some accessories were borrowed from Loewe’s men’s collection). Soft flat boots with structured dresses, trouser sets with feather details and confetti. Stitch heels with studs and heels in sweet pink, artificial leather dresses pastel gum. Playing with texture, color and prints, the exhibition was accompanied by real silk dresses tied to the chest with golden ornaments.
Glamour to the fullest in Schiaparelli, where the power of the 80s returns.
As for Schiaparelli, relaunched with great fanfare 4 years ago through the American designer Daniel Roseberry, the space presented its first ready-to-wear collection since his appointment as artistic director. Intoxicating in gold, brocade, velvet and silk sweater, she takes the codes of haute couture dresses up from space and refines them for a day of dressing room – if, on the day, we dress like Krystle Carrington from the TV series Dynasty of the 80s. Power has been directed into this decade in a wonderful, almost orgiastic way. It was a collection full of laughter and debauchery, betting on the female figure and revering the hips and bodice in the same way that Roseberry’s viral sewing did.
Later on Friday, Victoria Beckham paid tribute to the dresses, performing in costume with her friend Drew Barrymore, who was a guest on the show (but couldn’t make it to Paris due to filming commitments). Little Edie Beale, Barrymore, was Beckham’s muse, who wore eclectic dresses adorned with pleats, feathers, contrasting stitching and even synthetic hair.
Victoria Beckham has opted for ornaments, with pleats, feathers, contrast stitching and even synthetic hair.
Will you buy a pair of shoes covered with a wig?What he will sell, no doubt, is Beckham’s very good haute couture: oversize blazers, baggy pants, jackets with pointed shoulders.
Hermès has forgotten its characteristic orange, opting for rusty red and brown, and presents a series of looks that celebrate movement and dynamism. Are you going anywhere? Hermès needs to send you there dressed in a tight tunic over a tight skirt.
Red tones and mustard in Hermès
At McQueen, the look was completely personalized, referencing Lee McQueen’s early paintings and the musculature of Victorian anatomy through sketches by Da Vinci. Inspired by the orchid, a recurring motif in the collection, artistic director Sarah Burton has combined male and female (a nod to the hermaphroditism of the orchid itself).
Romantic and dark, the collection is one of the most powerful of the week, both for its technical prowess and its thematic cohesion. Evening dresses are like extensions of the wearers’ muscles, with sides, backs and hems cut to show their bodies. One of the most stunning looks is a blood red dress with a neckline that moves away from the body, while others wear inverted center neckline with wonderful effect. Agitations added volume, leather zippers gave sex-appeal.
In a palette of gray, red and black, the screen referenced McQueen’s love, admiration and respect for women.
Romantic and dark, Alexander McQueen embraced his founder’s love of women.
Underground at the Carrousel du Louvre shopping mall on Sunday, Demna didn’t appear at Balenciaga but let his garments talk, most likely expected and for the most productive after the brand’s eventful finale in 2022 thanks to a major advertising scandal. .
On an immaculate white catwalk, the Georgian-born designer presented an austere collection, starting with oversize jumpsuits that combined masculine and feminine elements (a main trend, if you hadn’t already noticed) and ending with a series of hard dresses. The invitation, a blouse trend, and the show’s note, discussing Demna’s love of clothing, were tactics to get back into the brand’s DNA and away from viral social media moments.
Changing and pulling shoulders in Balenciaga.
Later that day, at Valentino’s, men walked among the women, and the collection was filled with youthful looks that played with the concept of dressing in a black tie. Literally, artistic director Pierpaolo Piccioli adapted the black tie to dresses, skirts and more. The hems at the height of the thighs balanced those blank lines with a playful feel, while the ornaments such as feathers and mother-of-pearl pearls added great contrasts and the assurance that two things are imaginable at once: strength and vulnerability, pragmatism and spiciness. heritage and ambition.
Thighs and ties at Valentino’s.
Off-screen, there have been many viral moments on social media. This year, dozens of teenagers waiting for Korean pop stars made getting on screens a fun challenge. There was an overwhelming sense of excitement, a palpable emotion that something vital was happening. Even in the middle of the Parisian winter, visitors and spectators dressed as if it were cool and warm, paying no attention to freezing situations and giving the art of dressing its due.
It was a sign that fashion had returned and reminded me that in May 2020 I asked Chanel’s head of fashion Bruno Pavlovsky for his opinion on virtual presentations. than in a lush position as usual. While other designers, led by Dries Van Noten, were looking for a slowdown in the fashion season, the end of endless exhibitions, Pavlovsky was clear: “If you ask me what we would prefer, we would prefer a screen, without a doubt. It cannot be compared to a screen.
And it has razón. no you can And even those who had no hope of getting in would agree: I don’t regret anything, do I?
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