Paris Fashion Week Fall/Winter 2020: Day 6-8 Highlights
Paris Fashion Week has officially drawn to a close, marking the end of Fashion Month. From Hong Kong designer Anais Mak'savant-garde approach for her fashion label Jourden, to Thom Browne’s whimsical setting and Chanel’s sophisticated looks, we round up the most impressive shows from the last few days of PFW
While it did not have the same level of theatrics as Satoshi Kondo’s debut collection for Issey Miyake last season, his second was equally vibrant and poetic. A paper drawing was cut up to reveal models wearing the exact outlines at first, and then there were colour-blocked tunics (like smushed play-doh) and then a series of whites and greys emanating a winter landscape until finally a string of models wearing knits with scarves or sleeves that connected to the next, forming a heartwarming human chain. The result? People leaving with smiles on their faces.
Hong Kong designer Anais Jourden eschewed a traditional runway show for a haunting musical performance by Vox in a lecture hall as models in metallic thread knit cardigans and her signature polka dot or star print tulle glided across the stage. Velvet ruched ribbon dresses and mesh lace trenches sat over Nike sports bras reminded us of their ongoing collaboration.
What a show! Thom Browne drew inspiration from Narnia for the set design, with a winter wonderland of fake snow and pines that surrounded lone doorways. Models emerged in pairs wearing pristine preppy long coats and ties at first, animal appliques on plaid coats, cushion coats with elephant buttons, pleated strips over trousers and plenty of suit jackets spliced and diced into skirts or one big jacket.
But the best part? Browne expanded his range of bags to not only include his beloved Daschund shape but practically every animal under the sun (there were giraffes, anteaters, rabbits...). Needless to say, the audience was rightfully mesmerized.
Shown to the music of a small live orchestra against Billie Eilish’s music, Pierpaolo Piccioli sent models down the runway in all black at first, with crisp leather suits and capes, but accompanied by exquisite purses and clutches with sculpted leather flowers. As usual the lineup bloomed into eveningwear where Piccioli is most comfortable, with plenty of puff-sleeved, sequined mesh confections.
While the entrance looked rather menacing (waiters stood in red fog serving drinks), the collection itself was a beautiful mashup of bold-shouldered jackets and capes, some flowing dresses in a new square-dot print before Waight-Keller’s famous couture came into play with incredible feathered tassel numbers.
Though not necessarily the newest in terms of concept, Chitose Abe created piece after piece of easy separates and dresses alike that every woman would want. There were camel and coffee spliced satin jackets with flowing trains, long, and puffer-dresses oversized bomber jackets and silk-mesh dresses with over-wide waistlines to create a billowing effect. The space and matrix-esque logo print played second fiddle to the beautiful construction.
It’ll be hard to miss Malone Souliers’ new swan boot and mules adorned with a plume of feathers next season but the more subtle styles are just as pretty from the mesh heels in collaboration with Deveaux to the metallic vintage wallpaper patterns on boots inspired by Ratti.
The utilitarian chain belt seems to be everywhere this season including at McQueen, where exposed asymmetric bustiers reigned supreme, as well as beautiful cut suits with the occasional abstract geometric print and high-low hem dresses cinched with leather harnesses. Romantic reds and pinks continue to be the main pops of colour and were found on appliques on sweetheart tulle dresses and heart-shaped prints on leather jackets alike.
Simplicity, romanticism and freedom were the themes for the Chanel show and it was made apparent from the set itself which had much less pomp and circumstance than Karl Lagerfeld’s time, instead featuring a mirrored floor and man-made fog to imitate ice. Models, sometimes in pairs, wore youthful tweed jackets, some with scalloped hems, many in fresh lime and pink hues. There were side-button jodhpurs and palazzo trousers opened up to make flares, velvet monogram tights under short shorts, easy feather-collared shirts and delicate bejewelled sleeves. No frills, but just as flirty.
Set like a luxury jazz club, the models wore luxurious frocks to match the setting. There were crinkly satin dresses in jewel hues to start, then huge furs over slinky sheer skirts with crystal hems and bubble dresses over bandeaus. Hints of crystals sparkled under cosy cardigans and plaids clashed on leotards and long coats. For the final act, dazzling peacoats and mesh gowns with crystal clusters emerged. It was definitely ladies’ night at Miu Miu.
Hoping to add a more separates to his bling lineup, the young Swiss designer who champions sustainability without losing the glamour created a collection of pop, feather-sleeved blazers in contrasting colours, Swarovski-crystal adorned skirts and tees but most impressively, dresses made from old Ralph Lauren shirts (you can still see the emblem) and delicate tie-dye dresses stained using vegetables.
Set to the sound of a costumed live opera, Nicholas Ghesquiere took inspiration from theatre and created frothy tutu skirts that bounced underneath biker and bomber jackets, pinstripe suits paired with anoraks, pencil skirts with sheer trousers and dramatic shearling collars on leather wrap coats. The outerwear was the highlight though, from the knee-length blazers to the heavily embroidered matador jackets.