Paris Fashion Week started off as Milan was wrapping up the shows on the 14th of January 2020. Busy as Milan Pairs Fashion Week had 72 Shows and 22 Presentations.
Our week kicked off with Valentino. FKA Twigs on stage performing, a statement by Pierpaolo Piccioli to bring the romantic and soft touch in the masculine world. An army of tailored looks that felt easily to be transformed from being a sophisticated human to street wear, mixing floral prints and capes to craft a new vision of menswear fit. The collection showed a key collaboration with the logo sneakers designed alongside Japanese brand Onitsuka Tiger, as well as pieces decorated with the evocative works of Melanie Matranga, in addition to the writing on the T-shirts.
Day two started with AMIRI. A brand known for their distinct design of deconstructed, hand-embellished denim jeans, leather jackets, grungy flannel shirting and graphic tee-shirts. For this season we saw some changes of the pieces with the add on of major luggage in addition many vintage scarf prints. The show had Men and Women showcasing the latest collection. Following was Louis Vuitton by Virigl Abloh, one of the most anticipated shows during men’s fashion week. Started off with the invite that was in a form of a clock ticking backwards into the countdown to the show. For this season Abloh opt to the evolving premise of boyhood at Louis Vuitton, he investigates the lifelong relationship formed by adolescent and young men with shirting and suiting. It is material and figurative exercise in freedom, presented within the familiar constrictions of tailoring. Surrealism is the instinctive act of making the ordinary extraordinary. The abstraction of the familiar expands the routine horizons and makes you see the world through unfazed eyes. Virgil Abloh applies the mechanics of the surreal to rewind the clock on our collective age-inflicted comprehension. Gazing at the world through the optics of a child – of an adolescent or a young man – is tantamount to first impressions, to the purity of mind and the refreshing optimism of naivety. The turn of a decade heralds an appetite for fresh motivations.
Day three commenced with Les Benjimans. Showcasing for the first time as part of Paris Fashion Week, the Turkish based brand. Merging directional and casual pieces with authentic techniques and new fabric developments. A dusted flocking mimics a tapestry effect in soft mustard across grey wool suiting and outerwear. In a collage of textiles, the contoured panels of sleeves and trousers recall the psychedelic graphics of 70s vinyl covers. GMBH followed showing shapes they came up with first in seam and drape and then with an interplay of mixed materials, while in the second half of the show, the collection expanded into colored patches and versions of the mixed link chain print. The evening of the third day started with Dior by Kim Jones. Kim Jones draws on the Dior archive and iconography to celebrate the house timeless elegance. A tribute to a dear friend of Jones, Judy Blame. The collection was highlighting details and cuts as an ode to Christian Dior love to architecture. The Dior oblique canvas is revisited in beaded embroideries, while the Dior logo is pierced with a safety pin. The pieces showed a clear inspiration from the Haute Couture of the house. Highlight of the looks was the gloves that completed every look and for the Dior oblique was reinterpreted with beads on shirts and more. The night ended with Balmain, showcasing Olivier Rousting army. The show was covered with sand-colored runway and models wearing sandals and clad in drapy clothing meant for hot climes. The finally was a dramatic modern dance performance. Rousting mixed the classics which are the camel coat, a blue blazer with shiny buttons, with shapes There were capes, too, for chilly Saharan nights, and loose, languid knits.
Day Four in our schedule was for Loewe and Jacquemus. LOEWE showcased a collection that pairs textures and forms in blunt juxtapositions of opacity and shine. Creative director Jonathan Anderson believes that function is reduced or twisted, and definitions are blurred. A blazer is meant as outerwear, army shorts resemble a skirt, sleeves are elongated, a cape is morphed into a coat. Moving to Jacquemus, after a successful one-off showing last season in the lavender fields of Provence which we attended and covered last season. Jacquemus returned to Paris after announcing the brand will show co-ed collections on the men’s schedule moving forward. (Great news for us). The show and collection was called “L’Année 97,” or “The Year ’97.” The year 1997 when Jacquemus was only seven years old, which is when he designed his first piece of clothing for his mom. Men’s looks followed the DNA of brand which centered around the country-boy meets South-of-France aesthetic. Loose silhouettes, baggy trousers and cargo shirts dominated the lineup.
The final day of Paris Fashion Week started off with the British label Alfred Dunhill. The old guard and the avant-garde are both celebrated in the latest Dunhill collection, where tradition and subversion work together in a distinctly British way. The technical specificity of menswear is celebrated, with British tailoring traditions explored and experimented with, providing a new take on deconstruction. The introduction of Pegged trousers in felt and eel skin, a nod to the New Romantics, provide a more relaxed lower half to the silhouette. Standard suiting is eschewed, yet tailoring is both rigorous and sensuous. Following comes Paul Smith who celebrated this season the 50th anniversary of the brand. The show had a victory-lap feeling, we saw jumper with Smith’s red 1995 spaghetti pattern knitted in a deconstructed, unfinished style. Other highlights included floral print on dark denim that appeared on several pieces in addition to hoodie covered in Paul Smith logo newsprint. We closed our Fashion week this season with Acne Studios he created a dual show for men and women separated by a wall with a huge mirror coming from the ceiling which makes you see both shows simultaneously. Several jackets and coats had a curved cutaway at the front — the result of the program interpreting images of open jackets and coats.