A REVIEW OF PARIS FASHION WEEK FW20

Despite the spread of the coronavirus being the most talked-about subject in Paris, Fashion Week went on as planned, gathering press and buyers from all around the world. In difficult times, designers often turn to security as a key theme, but the clear message behind the Paris runways was empowerment and the strength of the female psyche. Instead of escaping reality, the best collections faced the cold hard truth while offering a way forward.

***Saint Laurent by Anthony Vaccarello***

That was the case with Anthony Vaccarello’s stellar show for the House of Saint Laurent. He focused on the strong shouldered blazer -a Saint Laurent trademark- and made every model look like a tough dominatrix by pairing their sharp jackets with latex leggings. Color was also a key story, giving a sense of hope and cheerfulness, from deep reds and intense blues to purple and fuchsia pink. Think Helmut Newton meets Belle de Jour and you’ll get the picture.

Saint Laurent by Anthony Vaccarello

Virginie Viard was in a similar mood at Chanel, in the sense that she embraced colorful separates and subverted bourgeois classics to give them a new twist. Inspired by Claude Chabrol’s cinema -an ironic observer of the middle-class- and Anna Piaggi’s style in the early 1980s, the French designer delivered an upbeat and playful show where skirts were unzipped, dresses were loose-fitting and models walked hand in hand, underlining sisterhood and emancipation.

The 1980s were also on Nadège Vanhee-Cybulski’s mind and her strong collection paid homage to French designer Jean-Charles de Castelbajac. Outerwear was key, with gorgeous capes, quilted jackets and butter soft leather coats, one of the maison’s expertise. The designer opted for a curvier silhouette, too, and used bold primary colors, which gave the show high energy. No wonder ready-to-wear has been on the rise at Hermès, given the exquisite materials and fabrications used for its womenswear.

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Hermès

Louise Trotter did a very good job at elevating Lacoste and make you forget its connections to streetwear and sports in general. Relaxed elegance was on the agenda, with sleeveless stripy sweaters, roomy outerwear, prim pleated skirts, and a gorgeous color block leather coat, which oozed luxury. The energy came from the designer’s color palette, ranging from luminous greens and bright pinks, to warm yellows and dynamic oranges.

Lacoste

If Hedi Slimane presented his men’s and women’s together for the first time, he did not -however- stray away from the codes he established for the House. His obsession with rock-n-roll bohemians took us back to the 1970s when elegance was not about overt sexiness nor provocation. There were many items to fall in love with, from gorgeous leather boots and decadently embellished dresses to sharp slim suits and romantic capes.

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Celine by Hedi Slimane

For his much anticipated debut at Kenzo, Felipe Oliveira Baptista was inspired by the same moment, when Kenzo Takada arrived in Paris for the first time and discovered French fashion. The collection was a clever mix of arty dresses and protective outerwear, which brought Anne-Marie Beretta and Claude Montana to mind. The designer used the emblematic tiger in unexpected ways, as well as cool camouflage for coats and separates. It was smart from him to avoid the sexy and focus on the cerebral instead, reconnecting with the maison’s Japanese soul.

Kenzo

Both Comme des Garçons and Junya Watanabe sent out standout collections this season, which also underlined female power and confidence. While Rei Kawakubo is famously secretive about her inspirations, her show took shapes to new extremes while keeping an incredible sense of poetry. Watanabe was referencing the rebellious spirit of punk singer Debbie Harry, dedicating his collection to her. His models wore timeless, deconstructed tailoring while their skirts and dresses morphed into bags. Was this an ironic comment on luxury houses relying on accessories to meet their targets?

Comme des Garçons & Junya Watanabe

You will rarely see bags at a Rick Owens show, unless they are fully part of the designer’s narrative. He pursued his exploration of confident and ultra-modernist sci-fi glam, evoking the style of David Bowie and a certain fearlessness, which he has made his own. Towering platform boots, sexy slit dresses and voluminous coats with squared shoulders gave the Rick Owens girl an oddly elegant and alien vibe.

Other collections depicting female power this season were Sacai, Y/Project, Valentino and Paco Rabanne, as well as Marine Serre, whose message was more upbeat than last season. While Dries Van Noten was in a party mood and was -you guessed it- inspired by the 1980s, Christian Wijnants’ serene show emphasized easy shapes and gorgeous knitwear.

Sacai

Dries Van Noten

Paco Rabanne

Christian Wijnants

Valentino

Dries Van Noten

Christian Wijnants

Sacai

Paco Rabanne

Marine Serre

Paco Rabanne

Y/Project

Valentino

Y/Project

Valentino

Marine Serre

Sacai

Y/Project

Protection was an important theme within Paris runways and Demna Gvasalia emphasized the shoulder at Balenciaga, having his models walk on water. A projection of a burning sky above them may have felt dystopian, it was nevertheless a collection full of desirable garments, perfect for facing the world outside.

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/ Words by Philippe Pourhashemi /

The Paris runways close each and every fashion season, meaning expectations always run high for anyone within the industry. Who gets to define the current Zeitgeist? Which designers surprised and amazed their audience the most? And who played against their own rules to enrich their language? Our times are frightening ones, which for some designers is an endless source of inspiration, but the dichotomy in Paris between those who embraced the past and those who looked forward was crystal clear.

Hedi Slimane has established new codes at Celine and didn’t stray away from the vision he introduced last season. The French designer had 1970s Saint-Tropez in mind, referencing Jane Birkin’s tomboyish attitude with her flared jeans, tank top and straw tote -complete with the House’s logo in tan leather- and Brigitte Bardot’s sultry, bohemian sex appeal. Upon closer inspection, the clothes were exquisite and incredibly luxurious, from shaggy shearling coats and fully embroidered dresses to tailored culottes and quilted jackets. Equally carefree, Isabel Marant sent out sexy groupies ready for music festivals, wearing tiny frayed shorts and Brazil-inspired outerwear. Slimane and Marant belong to the same generation, and they took us back to an era where individual expression and emancipation were paramount.

A similar mood defined the collection Nicolas Ghesquière sent out for the House of Louis Vuitton. Presented within the Carrousel du Louvre, his show referred to the “Me Decade” and iconic Biba signatures, as well as Belle Époque and Art Nouveau elements. Jackets were on the narrow side and pants were full and sat high on the waist, while several dresses were printed with colorful romantic motifs, evoking London’s atmosphere in the early 70s. At Lacoste, Louise Trotter nicely balanced retro sportswear elements with sleek suiting, elevating the codes of the brand. If her color palette also referred to the 1970s -mostly with orange, yellow and brown- her understanding of volume was very contemporary.

If escapism is definitely a trend, other designers decided to confront our times and embrace them. Marine Serre’s show, held on a dark and rainy morning on the outskirts of Paris, had a raw energy, which felt relevant. Half of the collection was made from upcycled pieces, underlining the designer’s timely concern with waste and sustainability. The workwear-inspired pieces that opened the show were some of her most convincing, both urban and elegant. At Balenciaga, Demna Gvasalia used corporate dressing and uniforms as a starting point, offering sharply tailored looks as well as imposing outerwear that brought French designer Claude Montana’s radical silhouette to mind.

Inspired by his Mexican roots, Rick Owens went political in his advocacy of open borders and homage to his mother, delivering a collection that was celebratory and uplifting. Using sequins, bright colors and statement headwear, he focused on architectural clothes that felt empowering and modern. Iridescent fabrics, metallic effects and subtle draping gave his garment a contemporary edge, challenging the belief that he’s a “dark” designer at heart.

In troubled times, designers focus on clothes that offer strength and protection. That was the case for Anthony Vaccarello at Saint Laurent whose focus on the perfect jacket was impressive, from daywear variations to deluxe evening options. Impeccably constructed and with a stronger shoulder, his jackets felt like the ultimate statement, whether plain or fully embroidered. The Belgian designer balanced sleek lines with peasant-inspired pieces, a classic Saint Laurent motif, and the detailing on those pieces was astounding, as well as their craftsmanship. At Hermès, a new form of opulent minimalism was on display, inspired by Safari clothes and menswear staples. No othermaisontreats leather as uniquely as Hermès does and Nadège Vanhee-Cybulski instinctively understands what women want to wear.

A similar pragmatism defined Virginie Viard’s collection for Chanel, which was presented at the Grand-Palais within a set evoking Paris rooftops. If she was drawn to 1960s Nouvelle Vague, Viard nevertheless proposed a timeless wardrobe many women will relate to and be charmed by. The fact that she’s connected to the reality of her customers proved once again that Chanel remains a strong player within the luxury landscape, balancing fantasy with rigor.

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