Showing posts with label Paris Fashion Week. Show all posts
Showing posts with label Paris Fashion Week. Show all posts

LEMAIRE’S WINTER GRAMMAR

 

    image and video courtesy ©Lemaire



Paris in January, a city breathing mist from its stone lungs, provided the frame for Lemaire’s Fall/Winter 2025/2026. What unfolded was not a spectacle, but a grammar of quiet elegance, garments cut to move with the body and to be lived in, rather than merely displayed. Pina Bausch and Merce Cunningham hovered invisibly in the wings, not in costume but in gesture. These were clothes conceived for living movement, not static tableaux. 

The collection opened in restraint: stone, taupe, coffee, grey, navy, and black tones formed its architecture. These earthbound shades were interrupted by sharp accents of scarlet, cobalt, indigo, pale yellow, lavender, and vermilion. The contrasts did not overwhelm but punctuated, like sudden notes in an otherwise measured score, awakening the eye within the calm. 

Fabrics revealed themselves as a dialogue between density and lightness. There were rich wools, alpaca and yak blends, elongated knit collars that rose almost to the face, their weight counterposed with silk sets that seemed to glide, satin surfaces catching and releasing light, twill carrying its structure quietly, and leather rendered with sculptural precision. Coated and lacquered finishes lent sheen, as though surfaces were designed to hold light as much as shadow. 

MICHAEL RIDER’S CELINE: BETWEEN THE WHISPER AND THE VOID

 

   image and video courtesy ©Celine



Some debuts thunder into being, shaking the rafters. Michael Rider’s arrived in a hush: elegant, deliberate, and just a little too polite. On a sun‑washed Paris afternoon, beneath a canopy of suspended foulards, Rider unveiled his first Spring/Summer collection for Celine, a house that, for over half a century, has oscillated between the rigour of restraint and the allure of rebellion. His stated aim was modest: to honour the "language of Celine," to write his chapter without erasing what came before. And honour it he did. Perhaps too much so. 
The collection itself was a quiet exercise in precision. Rider’s women glided through the silk‑draped set in masculine tailoring, knife‑pleated skirts, funnel‑neck trenches, and long, lean proportions, a wardrobe of Parisian archetypes rendered in navy, camel, ivory, and a whisper of cobalt. Silk scarves knotted at the neck evoked Philo’s intelligence; striped rugby sweaters tucked under blazers evoked a kind of Connecticut‑via‑Rive‑Gauche nonchalance. Charm belts tinkled at hips. Archive Phantom bags made their comeback as though nothing had changed. 

ELEGANT, SOPHISTICATED AND A BIT PRAGMATIC

 



Imagine the end of a sunny day, when the light fades just before sunset, deserted streets bathed in golden light, a perfect backdrop for Ami S/S 2025 collected, which took place in an empty Haussmann-style building in SaintGermain-des-Prés, close to the River Sein. Alexandre Mattiussi's focus for the upcoming summer is on Ami essentials, so-called core pieces "built" with quality materials, like light wool and soft cotton. 


A DAILY ELEGANCE WITH A SENSUAL TOUCH

 



On June 19, 2024, at its headquarters on 11 Places des Vosges in the Marais district of Paris, Lemaire showcased the S/S 2025 collection, a highlighted juxtaposition of rugged and delicate elements, featuring graceful and layered ensembles contrasted with robust cotton drill and leather, as well as more structured workwear-inspired silhouettes. A daily elegance with a sensual touch.

A R MOUR


   images courtesy of ©vogue


Rei Kawakubo's fashion shows are not solely about fabric, cut, and shape but also about the emotional suspense they create, a walking art form. Her fall 2009 for Comme des Garçons is one of her many collections that acts that way. 

PAPER SHOE



anne sofie madsen f/w 2017/2018
photographer imax tree
paris fashion week
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SARAH´S ROCHE



sarah harris
f/w 2017/2018 womenswear
photographer phil oh
paris fashion week
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LESS STRUCTURED, MORE SOFTER


The upcoming warmer season sees a bit less of Ackermann´s well known cinched-waist structured and rigid silhouettes, but more softer and feminine ones. Far from renaissance-feeling, his women´s femininity is still kind-a bold, full of male/female contrasts, like a punk-rocker who without any hint of demure showcase its softer side. A world where oversize gets hand-in-hand with slim silhouettes, punk/rock elements matches well with Far East ones. 

AYMELINE 02



aymeline walade
f/w 2017/2018 womenswear
photographer sandra semburg
paris fashion week
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3 FAVOURITE BEAUTY LOOKS F/W 2017/2018 PFW






After New York and Milan also in Paris the main beauty code through fashion shows was "natural beauty", the no-make up make-up, like at Haider Ackermann lit up with touches of highlighter, at Dries Van Noten with a super-glowy complexion or at Y/Project that opted for a pure, almost virgin look. Even hairstyles in major shows were looking "undone". We love it!

REVERSE



acne studios f/w 2017/2018
paris fashion week wmns
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CLASSIC TAILORING IN GVASALIA WAY


Classic timeless tailoring pieces reinterpreted in the Gvasalia way, meaning boxy-square jackets, reminding us almost the rugby-esque shell jackets but with a classic coat –like knee length and double-breasted blazers with wide shoulders on one side, while on the other the total opposite thing, really tight, body-embracing silhouettes. Everything was spiced up with some inevitable Gvasalia humour seen in baseball caps, super-sized bright blue weekender, some rock-shoes with stacked wood heel and those "cannot be unnoticeable" Balenciaga white business cards tucked into pockets.

CHARLOTTE WITH CHESNAIS



charlotte chesnais
f/w 2017/2018 womenswear
photographer sandra semburg
paris fashion week
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MULTICULTURAL FUSION



This can be Jonny Johansson answer, point of view on that at the end we are all immigrants by putting a collection where there are no ethnic boundaries, no limitations, but a fusion of different cultures and people, translated in simple, oversize shapes,  with rich textures and patterns, like bohemian caftans, patchwork knit-dresses in fabrics reminding Berber blankets, workwear-inspired overalls, loose judo pants and envelope robe coats and bed jackets, not to mention those Jais crystal-studded loafers.

A TRUE ANTI-CONFORMIST


Models walked round of sinuous glass pavilions created by the artist Dan Graham, showcasing fluid, fresh and soft silhouettes with a touch of urban, mostly in a sharp black and white colour palette and with a sporadic adding of tomato red, soft orange, pink, mint and burgundy. Philo continuously corroborates the well-known fact of a Céline woman, as always being different, eclectic, and unique, a free and individual spirit, and a true anti-conformist. She likes for instance tuck her blazer into leather pants or wearing socks with sandals in two different colours. Even though is more like a runway styling, I wouldn´t be surprised to see a C-woman in real life that way, after all each piece breaths individuality. Don’t ‘you think? Just mind those silk wisps at the end of trousers, crocheted embroidered tops, knotted dresses and coats, the part of a leather skirt used like a corset, the same effect made by parts of jacket that were stitched into another skirt, abstract Yves Klein blue figures prints on white dresses, or those boxy, studded coats, not to mention ladylike bag, oversized shoppers and rigid gusset bags. A nice play of strong contrasts, like between reality and fantasy, soft and strong, classic and contemporary, with art as a primordial ingredient. 

OH SAILOR!



f/w 2017/2018 menswear
photographer phil oh
paris fashion week
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STRAY


The creative/design duo Lemaire-Linh continues with their mostly wide, oversized proportions and timeless day-elegance, but with some quite important changes shown at the end. If Christophe´s eponymous brand was known to be immune to fashion whims by literally avoiding trends and stay on its own, distinctive aesthetic, last few women´s-wear collections showcase some changes, especially evident in this one. The last part of this S/S 2017 collection was abundant of printed tops and dresses, demonstrating their following to the current street fashion obsession. So far I was really fond of every piece, from every collection and always asked myself how much this love and devotion will last. Now I´ve got the answer. Till this collection and thankfully changed just for the women´s-wear, because the men´s one is continuing to go to the same Christophe Lemaire direction. The one that is built with timeless, simple, elegant and comfortable pieces that you can each season add few garments to refresh this way your wardrobe. The one I felt in love from the first moment I saw. Let´s hope that this was just a little "faux pas". Have hopes for winter.

AYMELINE



aymeline valade
f/w 2017/2018 menswear
photographer phil oh
paris fashion week
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SOFTENED AND CONE-SHAPED


The sound of Neil Young´s 1970 song "After the Goldrush" accompanied Rick Owens S/S 2017 menswear collection that had been smoothed of the usual hard edges. Overall the clothes are gentler, softer-looking, regardless their complicated draping and exaggerated volumes. Through different techniques of his well-known draping, Owens always proposes new silhouettes, this time more cone-shaped, made of crisp, washed silk gazars and sturdy industrial cottons in a colour palette of off-white, rust, gold and black. There are his typical pyramid-shaped pants discreetly revealing the new sock-like sneakers, as a latest collaboration made with Adidas, and worn under cropped jackets with lengthened sleeves or really tiny ribcage-length bomber and leather jackets, making this way an effect of "lifting the torso", not to mention T-shirts and tops slung and twisted around the body and the shiny embroideries with radiant lines on loose black robes and sculpted tuxedo jackets.