Heritage of western America was the inspiration for this year’s show. Imagery of the American west filled the runway, including western scenery and heretical music, composed and performed by Native artists featured in the show.
The Look
Creative director Pharrell Williams paid homage to the original American cowboy, which are almost never portrayed in today’s American culture. Cowboy hats, boots and belt buckles all made an appearance, as well as jeans and even chaps. Each looks were paired with accessories that were created in collaboration with native American artists, featuring western and dessert floral designs.
The collective was packed into the snug attic spaces of Givenchy’s establishment on Avenue George V, where they dispatched 34 models down to the intimate two-room salon below.
The Look
This year’s show paid homage to Hubert de Givenchy by starting with a blouse blanche from the designer’s personal collection. With the exit of creative director Matthew M. Williams, the studio collection was overseen by design director Josh Bullen. The collection paid tribute to Herberts feline fondness by featuring a cat printed shirt, long fur jenkin and hair-lined couture parka
Rick Owens used his personal parisian home as the venue for this show which was once an office of Francois Mitterand’s Socialist Party
The Look
Owens is often one who “thrives on chaos” and that can be showcased in this years look, making a statement of opposition to mass luxury. The collection is named after his hometown “Porterville ” located in California, as a contrast to its bleakness of which he was surrounded by growing up. Owens is not new to pushing the boundaries in fashion with a tenebrous industrial look featuring inflated rubber pull-on stretch boots, Anubis Coats, jumbo hooded Peter jackets, and Bauhaus cargos. All made from recycled materials including black nylon and discarded bicycle tires.
Creative director Kim Jones pays homage to his uncle, photojournalist and ballet dancer, Colin Jones and his works with ballet dancer Rudolf Nureyev. Audience members were given a book of Colin Jones’s work on Nureyev. Music from Nureyev’s performance in Romeo & Juliet was used to coincide with the ballet theme. The spherical stage was set to symbolize the main contender of aesthetics, contrast, which eventually leads to the majestic levitation of the center platform.
The Look
Jones wanted to capture the essence of Nureyev’s style on and off the stage. This idea of contrast was the cornerstone of this year’s theme. Between the two worlds of Nureyev’s personal and professional styles and the introduction of Dior Homme’s haute couture collection alongside the ready-to-wear line. The fusion of the day-to-day look blended with the more experimental couture creates an atmospheric innuendo to both the future and the past. Hints from the past including flared trousers, single-breasted coats, wool jumpsuits, and of course leather, complimented the contrast of the futuristic looks of draping silhouettes, patterns, bold colors. A final contrast of masculinity and femininity is what levels up the collection. The wide and low cut shorts with skirt-like silhouettes, see through tops, and most notably, the accessories. Head scarves, earrings, bags, knitted caps all presented as a androgynous repurpose. As well as hats originally designed by Stephen Jones for the women’s wardrobe.
Taking place over multiple stories, the show itself offers layers that match the imagery of the layered looks created in this year’s collection
The Look
Being the first men’s collection in 4 years, creative director Pierpaolo Piccioli pushes the boundaries in his contribution to dismantle toxic masculinity. The look aligned with the overall industry theme of dark tones. Piccioli’s aim was to somewhat reinvent casual menswear with “new grace and gentleness”. This includes breaking boundaries like layering turtlenecks under a suit & tie, and bold colors accents paired with black and white palettes. Double lapels and wide trousers drape to create dress-like silhouettes and roundness often associated with women’s couture. The essence of touch with soft fabrics often not found in suits adds the new gentleness to fit the theme.
Sometimes going against the grain is not always most fitting. Véronique Nichanian did not attempt to recreate the wheel, while still creating a collection that checks all the “trendy” boxes. Keeping it casual, dark, and with leather. The collection did have its elements, while many designers have been pushing flared trousers and wide cut pants, overall the cuts are slim with narrow silhouettes. The matte color palette of mostly dark tones mesh well with the thin line patterns with lots of movement.
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