Preview of the third day of the Paris prêt-à-porter fashion shows for autumn-winter 2022-23.
Shows with breathtaking views of the Eiffel Tower, ending with the iron lady that shines: the parades Saint LaurentTraditionally held in a huge barn set up next to the Trocadéro Fountain, it’s a guaranteed ‘wow’ effect. The wardrobe presented on Tuesday evening was right: 56 silhouettes of spectacular precision and proof, albeit without fuss. Black is the majority, barely interrupted by white, gray, brown or flesh, while Anthony Vaccarello knows how to make color stand out. This sobriety, of perfect timing, resonates with the seriousness aroused by the Russian invasion of Ukraine.
Anthony Vaccarello, us used to macadam amazons sitting on dizzying stilettos and looking like poisonous secret agents, this time with women solid as rocks, putting their hands in their pockets, with the nonchalance of mighty or panthers before the attack, unfathomable behind their black glasses. A press release after the show states that Vaccarello was inspired by Nancy Cunard, the glowing English writer, editor, and anti-fascist and anti-racist activist who lived in Paris from the 1920s, where she became a key figure in the intellectual and artistic, heroine of the 1920s and beyond. the surrealists and the Dadaists. His look, as flamboyant as his temperament, particularly appealed to elements of the men’s wardrobe, as a pioneer.
His path, which was interrupted in 1965, did not cross that of Yves Saint Laurent. Yet his character makes an ad hoc viaticum of the codes of the house: the pea coats, the tuxedos, the puffball coats, the huge fur coats – fake, here – worn next to the skin. Vaccarello accentuates the shoulders and collars, which can drop to the navel, narrows the coats and trenches (mention those in leather), associates harnesses (coats, jackets) and fragility (tops, dresses, arachnid skirts), outlines draped, drops the famous “little black dress” for the evening like so many sword thrusts: clear and sharp, with subtle modulations – play on collars, transparencies, asymmetries.
The main elements of the brand
At 10:30 this Wednesday, when the Courrèges fashion show was about to start, another brand caught the attention of the guests: Balenciaga, one of the bastions of the Kering group, led by Demna Gvasalia, said “Demna”, a designer born in Georgia when the country was still a Soviet republic announced that she would soon be posting information on her site to help Ukrainian refugees, as well as encouraging her customers to donate to the United Nations World Food Programme. Balenciaga is the first major brand to take a stand in support of the Ukrainian people.
in ‘s house Courreges, a huge square of silver soda cans serves as the background. The silhouettes, tall and slender, circumvent it with great strides. Nicolas di Felice, in charge of the creation of the house, is looking for the hyphen that will remember where we are while indicating where we are going. We find the key elements of the brand (the scattered logo, the mini skirts worn with large boots with multiple buckles, or in total vinyl look with a short jacket and waders, glasses or visor style, mini dresses, flats), mixed with sensual and unadorned elements (transparency, short size and close to the body). The silhouettes can be read in two or even three ways: from the front, in profile and sometimes from behind. For example, the skirts, dresses and pants are beautifully open on the sides – a look that reflects the character of Maddy in the series. Euphoria† wouldn’t deny.
Extended Double-Sided Silhouettes
Since 2006 and the birth of their brand The row, the Olsen twins have established themselves as figures of American fashion, making people almost forget their past as sitcom ministers (house party) – which is no small feat. Their credo has been clear from the start: fashion with clean lines, almost rigorous, perfectly executed and selling at exorbitant prices, which in some cases helps to win respect.
Mary-Kate and Ashley Olsen are at home in New York, but it is in Paris that they have chosen to parade this season, and this for the first time. The collection, reserved for a few guests – few invitations have been sent and no image revealed by the brand at the time of writing these lines – remains true to the brand’s line, whose name refers to Savile Row, the district of the best tailors in london. Unlike many others, the Olsen sisters aren’t specifically focused on Gen Z. Their collection is more like “welcome to adulthood.” However, the silhouettes are deceptively austere, often unstructured at the back, worked out in double face (a camel wool coat is worn upside down), which master Yohji Yamamoto would not have denied. Elements are repeated to give rhythm to the whole: white shirts with oversized collars, dresses and sweaters with very long sleeves, flat moccasins and very refined boots, dressesand full overcoats like this off-white leather jacket or navy blue pinafore dress. The Olsen sisters barely showed their noses at the end of the parade, probably intimidated. Their collection resembles them in this respect, all in restraint and austerity, butgenerally of good quality.