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| The Best of Paris Fashion Week, in Pictures | The Best of Paris Fashion Week, in Pictures |
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| The fall 2019 shows are underway in Paris. We’ll be updating this story with daily dispatches and images from the runways, as captured by T’s photographers. | The fall 2019 shows are underway in Paris. We’ll be updating this story with daily dispatches and images from the runways, as captured by T’s photographers. |
| Set in a dilapidated warehouse that resembled a fabric mill, Alexander McQueen’s show was a love letter to Northern England, the birthplace of the brand’s creative director, Sarah Burton. “I went home for this collection, back to where I grew up in the North of England, surrounded by mill towns and wild countryside,” she said after the show. Central to the collection was tailoring made from British fabrics, which Burton draped with silver chains and swaths of fabric, and later described as armor. One evening gown, embroidered with laser-cut metal sequins, was designed to evoke the sound of loom heddles as it moved, while the final dresses were made of taffeta sculpted to resemble the roses of Lancashire and Yorkshire. | |
| In what has become a season of big and bold shoulders, Giambattista Valli took a softer approach to the silhouette, showing dresses with puffed princess sleeves. Those statement shoulders were balanced by airy ruffled and ruched skirts mostly cut to above the knee. Monet-esque florals contrasted with leopard print, a carry-over from Valli’s haute couture show in January. The designer had been looking at the photography of Guy Bourdin while designing this collection, and he described it as an ode to the “indiscreet charm of the bourgeoisie.” | |
| Clare Waight Keller took a new approach to her latest Givenchy show, which was filled with a wide array of looks and attitudes. The collection ran the gamut from square-shouldered suiting to plissé silk dresses with flamenco swirls, bedazzled evening wear and even the occasional interlude of sharply tailored men’s wear. The designer said that she was inspired by the wave of aristocratic British models in the ’90s and how they wore high fashion with a sense of ease and insouciance. Located in the Jardin des Plantes, the set was lined by a colonnade of bare trees that were lit from below. The result was a distinctly after-dark mood, emphasized by the thumping techno music that scored the show. | Clare Waight Keller took a new approach to her latest Givenchy show, which was filled with a wide array of looks and attitudes. The collection ran the gamut from square-shouldered suiting to plissé silk dresses with flamenco swirls, bedazzled evening wear and even the occasional interlude of sharply tailored men’s wear. The designer said that she was inspired by the wave of aristocratic British models in the ’90s and how they wore high fashion with a sense of ease and insouciance. Located in the Jardin des Plantes, the set was lined by a colonnade of bare trees that were lit from below. The result was a distinctly after-dark mood, emphasized by the thumping techno music that scored the show. |
| “The people you love become ghosts inside of you and like this you keep them alive.” So went the Robert Montgomery poem that was emblazoned in bright lights at the Valentino show, for which Pierpaolo Piccioli collaborated with four poets: Greta Bellamacina, Mustafa the Poet, Yrsa Daley-Ward and Montgomery. Their verse was embroidered and printed onto intricately finished clothes adorned with floral, classical statue and butterfly motifs. Backstage, the designer mentioned a collective called the Movement for the Emancipation of Poetry, which is devoted to putting poetry on city streets by pasting posters to walls. “It’s about the power of emotions,” he added. “We don’t want to be dreamless.” | “The people you love become ghosts inside of you and like this you keep them alive.” So went the Robert Montgomery poem that was emblazoned in bright lights at the Valentino show, for which Pierpaolo Piccioli collaborated with four poets: Greta Bellamacina, Mustafa the Poet, Yrsa Daley-Ward and Montgomery. Their verse was embroidered and printed onto intricately finished clothes adorned with floral, classical statue and butterfly motifs. Backstage, the designer mentioned a collective called the Movement for the Emancipation of Poetry, which is devoted to putting poetry on city streets by pasting posters to walls. “It’s about the power of emotions,” he added. “We don’t want to be dreamless.” |
| A corporate office complete with gray desks, reading lamps and typewriters lined the venue for Thom Browne’s show at the École Nationale Supérieure des Beaux-Arts. Each desk had on it a framed picture of Una Vincenzo, Lady Troubridge, the early-20th-century lesbian literary figure, an image which would become a motif in a collection that riffed on Browne’s signature hyper-tailored suits and coats. Models in uniform-like looks sat and typed, as more and more opulent ensembles — embroidered gold coats with generous mink trims, for instance — came down the catwalk with dog-shaped handbags and nip-waisted bouclé jackets with trompe l’oeil textures. | A corporate office complete with gray desks, reading lamps and typewriters lined the venue for Thom Browne’s show at the École Nationale Supérieure des Beaux-Arts. Each desk had on it a framed picture of Una Vincenzo, Lady Troubridge, the early-20th-century lesbian literary figure, an image which would become a motif in a collection that riffed on Browne’s signature hyper-tailored suits and coats. Models in uniform-like looks sat and typed, as more and more opulent ensembles — embroidered gold coats with generous mink trims, for instance — came down the catwalk with dog-shaped handbags and nip-waisted bouclé jackets with trompe l’oeil textures. |
| A Comme des Garçons collection can go one of two ways: clothing or sculpture. This season, it was a hybridisation of both as Rei Kawakubo showed garments that veered in between the functional and the abstract. Skirts were spherical, tailoring was manipulated into bone-like shapes and house classics such as tartan and petticoats were given a darker edge. Several spotlights circled the square catwalk, illuminating models in angular formations. For the finale, they joined hands in a circle before the lights fell dramatically. | A Comme des Garçons collection can go one of two ways: clothing or sculpture. This season, it was a hybridisation of both as Rei Kawakubo showed garments that veered in between the functional and the abstract. Skirts were spherical, tailoring was manipulated into bone-like shapes and house classics such as tartan and petticoats were given a darker edge. Several spotlights circled the square catwalk, illuminating models in angular formations. For the finale, they joined hands in a circle before the lights fell dramatically. |
| Hermès staged its latest show in a dimly lit venue surrounded by walls with flickering lights designed to evoke a constellation in the night sky. It was a theme echoed in Nadège Vanhee-Cybulski’s collection, which opened with a black suede skirt suit with minuscule metal embellishments that twinkled as it passed by. David Bowie played as neutral-toned leather knickerbocker jumpsuits, double-faced cashmere coats, printed silk tunics and nip-waisted shift dresses followed. | Hermès staged its latest show in a dimly lit venue surrounded by walls with flickering lights designed to evoke a constellation in the night sky. It was a theme echoed in Nadège Vanhee-Cybulski’s collection, which opened with a black suede skirt suit with minuscule metal embellishments that twinkled as it passed by. David Bowie played as neutral-toned leather knickerbocker jumpsuits, double-faced cashmere coats, printed silk tunics and nip-waisted shift dresses followed. |
| The walls of the Maison de l’Unesco, the venue for Loewe’s fall 209 show, were lined with 16th and 17th-century miniature portraits of historical figures. “Musing on analogue forms of communication in the digital present, each painstaking facsimile invokes the marriage of form and function at an inherently personal scale,” read the show notes. In other words, Jonathan Anderson was pondering the origins of the selfie. He showed a focused collection with streamlined silhouettes rendered in the craft fabrications that Loewe has made its signature. Winged leather hats finished several looks, while the brand’s Spanish-crafted leather was offset by broderie anglaise, silk slips, feathers and upholstery fabrics. | The walls of the Maison de l’Unesco, the venue for Loewe’s fall 209 show, were lined with 16th and 17th-century miniature portraits of historical figures. “Musing on analogue forms of communication in the digital present, each painstaking facsimile invokes the marriage of form and function at an inherently personal scale,” read the show notes. In other words, Jonathan Anderson was pondering the origins of the selfie. He showed a focused collection with streamlined silhouettes rendered in the craft fabrications that Loewe has made its signature. Winged leather hats finished several looks, while the brand’s Spanish-crafted leather was offset by broderie anglaise, silk slips, feathers and upholstery fabrics. |
| For his latest Balmain show, Olivier Rousteing seemingly paid homage to Karl Lagerfeld. Rousteing borrowed from the late designer’s iconic vocabulary of bouclé tweeds, monochrome, jeans-and-jazzy-dresses and quilted leather bags, which contrasted dressed-down looks with seriously sharp metal-studded glamour. The collection was predominantly all-black with an interlude of pastels and classic blue denim, some of which was coated with transparent PVC. “She can be an angel or she can be a devil,” explained Rousteing. | For his latest Balmain show, Olivier Rousteing seemingly paid homage to Karl Lagerfeld. Rousteing borrowed from the late designer’s iconic vocabulary of bouclé tweeds, monochrome, jeans-and-jazzy-dresses and quilted leather bags, which contrasted dressed-down looks with seriously sharp metal-studded glamour. The collection was predominantly all-black with an interlude of pastels and classic blue denim, some of which was coated with transparent PVC. “She can be an angel or she can be a devil,” explained Rousteing. |
| Hedi Slimane’s sophomore Celine show opened with a mirrored box that descended from the ceiling. As it reached the ground, a model wearing a pleated check skirt, white shirt and printed silk scarf stepped out to commence a show that marked a dramatic new direction for the designer, one which riffed on the French brand’s 1970s bourgeois heritage. Skinny blue jeans were tucked into thigh-high brown boots, worn with roll-necks and fuzzy fur coats or sequin cardigans. A sense of ease and polish defined the attitude, underscored by the sounds of “J’ai Un Plan” by Embrasse Moi. | Hedi Slimane’s sophomore Celine show opened with a mirrored box that descended from the ceiling. As it reached the ground, a model wearing a pleated check skirt, white shirt and printed silk scarf stepped out to commence a show that marked a dramatic new direction for the designer, one which riffed on the French brand’s 1970s bourgeois heritage. Skinny blue jeans were tucked into thigh-high brown boots, worn with roll-necks and fuzzy fur coats or sequin cardigans. A sense of ease and polish defined the attitude, underscored by the sounds of “J’ai Un Plan” by Embrasse Moi. |
| Rick Owens dedicated his fall 2019 show to Larry LeGaspi, the American fashion designer who created flamboyant costumes for Kiss, Divine, Grace Jones and Labelle. “He introduced a camp ferocity to the mainstream and helped set a lot of kids like me free,” wrote Owens in the show notes; in October, he will release a book about LeGaspi with Rizzoli. For the collection, Owens collaborated with the legendary Italian fabric manufacturer Fortuny to create sumptuous printed jersey pieces that were draped around the body in a homage to the midcentury dressmaker Charles James, whose work Owens often draws on. And if the models looked alien-like, it was because of the prosthetics created by the artist Salvia, who Owens first came across on Instagram. “The body modification aesthetic has replaced tattoos for this generation,” Owens said. | Rick Owens dedicated his fall 2019 show to Larry LeGaspi, the American fashion designer who created flamboyant costumes for Kiss, Divine, Grace Jones and Labelle. “He introduced a camp ferocity to the mainstream and helped set a lot of kids like me free,” wrote Owens in the show notes; in October, he will release a book about LeGaspi with Rizzoli. For the collection, Owens collaborated with the legendary Italian fabric manufacturer Fortuny to create sumptuous printed jersey pieces that were draped around the body in a homage to the midcentury dressmaker Charles James, whose work Owens often draws on. And if the models looked alien-like, it was because of the prosthetics created by the artist Salvia, who Owens first came across on Instagram. “The body modification aesthetic has replaced tattoos for this generation,” Owens said. |
| Virgil Abloh covered a sports hall in a yellow checkerboard print for his latest show. It was a motif that appeared throughout his Off-White collection, in a nod to racing flags, an allusion to the tracks the designer grew up around in suburban Illinois. There was also plenty of voluminous outerwear and streamlined leather tailoring, as well as Abloh’s take on red-carpet dressing, worn by the supermodels Karlie Kloss, Adut Akech and Gigi and Bella Hadid. Hinting at Abloh’s roots in street wear, Hadid wore a black spaghetti-strap gown with monochrome Off-White sneakers. | Virgil Abloh covered a sports hall in a yellow checkerboard print for his latest show. It was a motif that appeared throughout his Off-White collection, in a nod to racing flags, an allusion to the tracks the designer grew up around in suburban Illinois. There was also plenty of voluminous outerwear and streamlined leather tailoring, as well as Abloh’s take on red-carpet dressing, worn by the supermodels Karlie Kloss, Adut Akech and Gigi and Bella Hadid. Hinting at Abloh’s roots in street wear, Hadid wore a black spaghetti-strap gown with monochrome Off-White sneakers. |
| Dries Van Noten’s latest collection combined androgynous tailoring with exuberant florals. The show opened with a suite of pinstripe gray flannel tailoring before blooming into a dusky-hued display of photographic prints of flowers from Van Noten’s own garden. “Prints are frank, avoiding whimsy, fancy and romance,” read the show notes. Instead, they nodded to a more austere mood, offset by black velvet and ornate embroidery. There was a hint of emotion in the air, too, emphasized by the soundtrack: two songs with the same title, “Crying” by Roy Orbison, and then Rebekah del Rio. | Dries Van Noten’s latest collection combined androgynous tailoring with exuberant florals. The show opened with a suite of pinstripe gray flannel tailoring before blooming into a dusky-hued display of photographic prints of flowers from Van Noten’s own garden. “Prints are frank, avoiding whimsy, fancy and romance,” read the show notes. Instead, they nodded to a more austere mood, offset by black velvet and ornate embroidery. There was a hint of emotion in the air, too, emphasized by the soundtrack: two songs with the same title, “Crying” by Roy Orbison, and then Rebekah del Rio. |
| John Galliano is vocal about his pyramidical way of working, in which ideas from his haute couture Artisanal collections for Maison Margiela trickle down to the brand’s ready-to-wear propositions. His previous Artisanal show explored the concept of decadence, which he defined as “the excess, the artifice, the decay.” His fall 2019 ready-to wear collection was a related meditation on what Galliano calls his “degeneration” technique, one which strips traditional garments down to their purest form and androgynously recontextualizes them. Hence a flannel coat transformed into a dress, an equestrian trouser mutated into a bustier and a pleather trench coat morphed into shorts with a deconstructed hem. The result was something altogether familiar — yet decidedly jarring. | John Galliano is vocal about his pyramidical way of working, in which ideas from his haute couture Artisanal collections for Maison Margiela trickle down to the brand’s ready-to-wear propositions. His previous Artisanal show explored the concept of decadence, which he defined as “the excess, the artifice, the decay.” His fall 2019 ready-to wear collection was a related meditation on what Galliano calls his “degeneration” technique, one which strips traditional garments down to their purest form and androgynously recontextualizes them. Hence a flannel coat transformed into a dress, an equestrian trouser mutated into a bustier and a pleather trench coat morphed into shorts with a deconstructed hem. The result was something altogether familiar — yet decidedly jarring. |
| Set against the Eiffel Tower, Saint Laurent’s coed show was a dark, brooding representation of Anthony Vaccarello’s midnight-hour vision for the storied fashion house. A mirrored box reflecting a field of moving infinity lights echoed the sharpness of the designer’s tuxedo tailoring, with its boxy padded shoulders, and the ornate embellishments adorning thigh-grazing cocktail dresses. The side-swept hairstyles, meanwhile, were a nod to Betty Catroux, one of Yves Saint Laurent’s lifelong muses. The show closed in a tunnel of black lights, which transformed the models’ looks into a Day-Glo rainbow of tangerine, fuchsia, ultraviolet and lime green. | Set against the Eiffel Tower, Saint Laurent’s coed show was a dark, brooding representation of Anthony Vaccarello’s midnight-hour vision for the storied fashion house. A mirrored box reflecting a field of moving infinity lights echoed the sharpness of the designer’s tuxedo tailoring, with its boxy padded shoulders, and the ornate embellishments adorning thigh-grazing cocktail dresses. The side-swept hairstyles, meanwhile, were a nod to Betty Catroux, one of Yves Saint Laurent’s lifelong muses. The show closed in a tunnel of black lights, which transformed the models’ looks into a Day-Glo rainbow of tangerine, fuchsia, ultraviolet and lime green. |
| Maria Grazia Chiuri regularly partners with female artists, and the set for Dior’s fall 2019 show, presented at the Musée Rodin, was a collaboration with Tomaso Binga, whose images of women posing to resemble the letters of the alphabet adorned the white-walled space. The works set the scene for Chiuri’s latest collection, which featured T-shirts printed with the title of a book by the feminist writer Robin Morgan and drew from two other seemingly disparate references: Teddy Girls, the postwar British subculture (the female equivalent of Teddy Boys), and Princess Margaret, a lifelong royal client of Dior. The former was evident in the gray Edwardiana tailoring and pussy bows; the latter in the sweetheart-neckline chiffon dresses. | Maria Grazia Chiuri regularly partners with female artists, and the set for Dior’s fall 2019 show, presented at the Musée Rodin, was a collaboration with Tomaso Binga, whose images of women posing to resemble the letters of the alphabet adorned the white-walled space. The works set the scene for Chiuri’s latest collection, which featured T-shirts printed with the title of a book by the feminist writer Robin Morgan and drew from two other seemingly disparate references: Teddy Girls, the postwar British subculture (the female equivalent of Teddy Boys), and Princess Margaret, a lifelong royal client of Dior. The former was evident in the gray Edwardiana tailoring and pussy bows; the latter in the sweetheart-neckline chiffon dresses. |
| Staged in a smoky concrete basement illuminated by pink strobe lights, Marine Serre’s show opened dramatically with a head-to-toe-to-finger Lycra catsuit in the designer’s signature crescent-moon print. The piece marked a continuation of her exploration of face and body coverings, which later segued into embellished balaclavas and masks. Serre often works with recycled materials, transforming secondhand clothes and fabrics, and this collection was full of eclectic textures (tartan, pastel silks, highlighter-bright faux fur, iridescent moire) that she sculpted into dramatic silhouettes anchored by printed denim, spherical purses and, of course, those instantly recognizable bodysuits. | Staged in a smoky concrete basement illuminated by pink strobe lights, Marine Serre’s show opened dramatically with a head-to-toe-to-finger Lycra catsuit in the designer’s signature crescent-moon print. The piece marked a continuation of her exploration of face and body coverings, which later segued into embellished balaclavas and masks. Serre often works with recycled materials, transforming secondhand clothes and fabrics, and this collection was full of eclectic textures (tartan, pastel silks, highlighter-bright faux fur, iridescent moire) that she sculpted into dramatic silhouettes anchored by printed denim, spherical purses and, of course, those instantly recognizable bodysuits. |
| Simon Porte Jacquemus kicked off Paris Fashion Week with a show that celebrated French rural life, a homage to his upbringing in the South of France. The life-size town square, complete with fruit stalls and laundry hanging out to dry, was impressive in its scale and a perfect backdrop for what could possibly be the tiniest bags ever created, which models slung as though they were baguettes. There were Brobdingnagian tote bags, too. This season, Jacquemus also upped his offering of tailoring (strong-shouldered blazers with high-waisted pleat-front pants) and outerwear (slouchy trench coats with utilitarian pockets), all in a saturated palette of colors, including shocking pink, bright tangerine and parrot green. | Simon Porte Jacquemus kicked off Paris Fashion Week with a show that celebrated French rural life, a homage to his upbringing in the South of France. The life-size town square, complete with fruit stalls and laundry hanging out to dry, was impressive in its scale and a perfect backdrop for what could possibly be the tiniest bags ever created, which models slung as though they were baguettes. There were Brobdingnagian tote bags, too. This season, Jacquemus also upped his offering of tailoring (strong-shouldered blazers with high-waisted pleat-front pants) and outerwear (slouchy trench coats with utilitarian pockets), all in a saturated palette of colors, including shocking pink, bright tangerine and parrot green. |
| Reporting by Osman Ahmed. | Reporting by Osman Ahmed. |