A Paris Fashion Week Recap

Paris Fashion Week concludes “fashion month,” and there was plenty to discover this season as it draws to a close. The SS27 trends stood out to me more strongly than recent past seasons. I’ll be covering those in a separate piece. Spectacle has always been a major consideration at Chanel and Louis Vuitton, but this year we witnessed more performative elements on other runways and sets that served as distracting from clothing. It seemed that the best finds were on runways that focused intensely on the collections. There was an overarching theme of whimsy meets structure from many designers. Let’s jump in….

With the last show titled “The 1%,” this season’s show from Matières Fécales perpetuated this theme through its next chapter: “the 99%.” Here, we see the money masks covering the eyes from the last collection. But this time, they are worn by life-sized dummies or dolls carried on the literal backs of a model and, in this case, the 99%. We are not used to seeing strong political messaging at shows with Rihanna in attendance. I suspect that some future shows from other designers will be inspired enough to weave more blunt political messaging into their shows as well.

Early in the week, the front row went gaga for the color-shifting dresses at Anrealage. Despite the tech-inducing shifting of colors, these designs served as the near-antithesis of the robots we witnessed in Milan. There was a sense of play and wonder about the sparkling and color-changing LED lighting in the dresses. With this season, the brand celebrated their 25th Anniversary.

Maximalism endures at Dries Van Noten where broaches stole focus, bags took the form of oversized coin purses and layering was the assignment. The brand is known for pattern clashing that contributes to its maximalist designs. But at times, I thought this SS27 collection pushed the clashy agenda to its limit. Still, I agree with Nicole Phelps at Vogue who said of Klausner that he “has managed what might qualify as the smoothest designer hand-over we’ve seen in the last two years.” Klausner creates something new and not regurgitated while remaining true to the house codes.

What’s not to love about a collection nearly entirely in gold? Gilded gold looks and stark black eveningwear comprised the Yves Saint Laurent collections. Majestic chandeliers floated over a runway with a pristine view of the Eiffel tower. I was struck by the beauty of the setting, but I wondered how much more the clothes would get airtime if shown in an even slightly less-remarkable place. If there were a “spectacle award” to be bestowed, this would’ve received it. Adding to the event (and perhaps distracting from design), Charlotte Gainsburg performing breathy, unmistakable vocals at what is rumored to be Anthony Vaccarello’s last show following his ten-year tenure as the creative director for the legendary label.

At Dior, fabric was constructed into charming petals and elevated craftsmanship met with unfinished seams. I mentioned in this coverage of Jonathan Anderson’s Dior that details are where he excels with this brand and utilizing the strengths of the atelier’s artisans continues to be clear through this season. With a throughline of ruffles and sheer fabrics, Anderson creates looks that exude femininity and delicacy alongside the sensation that the models are a part of a garden itself.

Maison Margiela by Glenn Martins reminded me of Top Shop from the late 2000s/early 2010s. Many loved it. I found the runway set design to be inspiring and reminiscent of the ethos of Margiela. Models strode past walls and displays of various states of decaying flowers. This brings to mind questions of beauty and emphasizes a more authentic, multifaceted side of spring than the one associated with blossoming and blooms. I wished that multilayered, philosophical ethos had found its way into the collection more.

Haider Ackermann continues to translate true sex appeal into fashion design at Tom Ford without any of the gimmicks that we see when this is a brand’s impetus. Slow strutting models and breathy audio accentuated this throughline of desire that appeared through the low-cut designs, exposed bras, and men’s underwear on the runway. But looks that were less revealing also contributed to the sensuality of the season. On this show, Vanessa Friedman for the New York Times said, “It’s actually the promise of skin and not the skin itself that’s really exciting.”

Aside from the occasional surprise on a Prada runway, age inclusivity is not embraced enough on the runways of major houses. Tom Ford from Ackermann continues to reveal that sensuality is not limited to youth, and regardless of age, his models exude a magnetism that cannot be ignored. This stood out as an age-inclusive runway.

Perhaps this was Pierpaolo Piccioli’s best season yet at Balenciaga where the female form and natural movement were celebrated through flowy pieces. The respect for the silhouette showed through draping of dresses, as well as tailored shirts with jeans. Some nice surprises included oversized cummerbunds, funnel-neck bombers, and a leather skirt with a flowing train. Gowns were the highlight, and tassels cascading on particular looks brought a buoyant and springy feel to the collection.

I loved Sarah Burton’s moody, dark florals for Givenchy FW26 extending from fabric into frayed strands. Now, we’ve witnessed her best collection yet. Satin peplum jackets stood out, and the bra trend for SS27 continues with a surreal bra-meets-dress garment. Silhouettes in this collection are artful, and the pompom shoes contribute to a whimsy that many collections are tapping into. I think this whimsy meets structure — appearing here and on the Moschino runway — mirrors an aspiration in society right now. That alongside harsh global news and tech concerns, people want to incorporate joy into their everyday lives and personal style.

Courrèges started a new chapter with Drew Henry debuting his collection as creative director. The show’s bright, springy palette echoed color trends found in Milan and New York. Henry brought back space booties from the house’s past and the archival a-line dress worn in reverse. Henry managed to bring the space-inspired and modern blueprint of the brand into contemporary times. He shared with System Magazine, “I tried not to make it about the ‘60’s, but about something a bit disruptive. And in a weird way, I found it disruptive to be positive. Things are tough everywhere and in all sorts of ways, and I needed some joy.”

Stella McCarney showcased an airy and elegant collection in mostly neutrals, sandy tones, onyx and a striking seafoam. Relaxed suiting, enticing separates and silk shift dresses made for an attractive and marketable collection. Supermodels Amber Valletta, Karlie Kloss and Miranda Kerr strutted in confident and lived in looks.

The bra theme continues with Schiaparelli where this season’s strength is in wearability and sensuality without trying too hard. In spring beauty trends, it would be fun to see the return of black and dark plum lipstick that was on this runway. Ultimately, this Schiaparelli collection will be remembered for its jackets which are a result of Daniel Roseberry’s look back into the archives. Vegetable embroidery—accompanied by vegetable buttons— was inspired by the 1941 vest recreated into a jacket for SS27. An olive jacket collaboration between Elsa Schiaparelli and Saks Fifth Avenue from 1938 inspired a striking recreation this season, as well. Eight jackets in total were created from inspiration found in the archives. Daniel Roseberry shared about the collection on Vogue’s Run-Through podcast. He said, “I think at the beginning of my time here, especially when we started working on the ready to wear, there was this urgency or this idea that we had to differentiate the couture from the ready to wear…. and I think in the end, it’s actually not what the client wants. The client actually wants a distilled version of the couture and not this completely different proposal. So I just think of it as like the same woman, just a different part of her life, different corner of her brain.” This dissolving of boundaries speaks to a larger collective change in fashion. Brands are seeking to speak to many women, simultaneously, as well as the many “hats” (or lives) that one woman wears in her life. And multiple shows this season spoke to this multifaceted nature of one woman and embrace of many women that “fit” the brand.

In a continued theme, Hermes was beautiful and seductive without trying. Staying true to the sophistication of the house, the color palate drew from neutral earth tones and tangerine. It felt soothing and grounded amidst the sea of collections relying on bright hues.

Valentino began a slow drip of book covers on their socials leading up to their show: Valentino Antibiblioteca. A literary theme would surely ensue, but how would it show up? Fashion’s current literary affinity is established, and I wrote more about the trend in this piece. Valentino defined the antilibary as “the collection of books in one’s library that remain unread: a tangible presence of what we do not yet know.” When considering books and clothes, it suggests a middle, or perhaps, liminal space between where we’ve been, what we’ve read and what we’ve worn, and what is yet to be discovered. In this way, it beckoned questions around possibility, curiosity and uncharted paths forward — whether through literary pages or hanging garments.

Fittingly, the show was held at Bibliothèque Sainte-Genevieve lit partially by the soft green hue of classic library lamps. Despite the ostentatiousness of the YSL show, I noticed a similar sensation with this one. It was challenging to focus on the clothes when the theme is taking up this much literal space. Once you get past the grandness of the locale, you can focus on the details, including lace cummerbunds, satin bustiers, and statement hats. Black-and-white polka dot blouses clashed with iridescent sequins of a floral-print tie. Overall, there was just enough clash in pattern to arouse intrigue without the collection straying into overstimulated or messy territory. Textures through fur, feathers, silks and velvet added sensuality, while bold and muted color combinations contributed to the fun. Attendees of the show were encouraged to bring books to be donated. The stack of collected books included works from Julia Childs (brought by Colman Domingo), Tolstoy, and a multitude of children’s books. This raises questions around an experiential component. While the book theme follows a clear trend, the invitation to participate while at a show is innovative. Will this jumpstart a fashion-adjacent trend involving audience participation?

Once again, Matthieu Blazy’s Chanel proved an understanding of the brand’s roots and the designer’s capability to translate the old Chanel into a contemporary take. The overdone tweed and oversized logos are a thing of the past. Suiting is feminine and relaxed while elegant. Patterns are fun, inspired and thoughtful. But I was shocked by the media focus on music. What does it say when most influencers, journalists and celebrities in attendance record their face (instead of the clothes) with the music of Britney Spears at the show? And not just any show — it’s Chanel. Not to be the fashion or fun police, but Blazy deserves better than this representation by the front row. He deserves a focus on his designs.

London Fashion Week & Milan Fashion Week Roundups

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