FASHION ICONS

WHAT IS FASHION ANYWAY? HOW MANY SYNONYMS CAN YOU FIND FOR IT? VOGUE, TREND, CRAZE, RAGE, MANIA, MODE, FAD, FANCY, STYLE… IT IS A WAY OF DOING SOMETHING, RIGHT? FASHION, AT ITS CRUDEST MEANING, USUALLY REFERS SPECIFICALLY TO THE VARIOUS STYLES AND DRESS CODES ADOPTED IN EACH SOCIETY AT A GIVEN HISTORICAL TIME. SOUNDS BORING, RIGHT? STILL, EVERYONE IS APPRAISED BY IT: HOW WE LOOK, WHICH COLOURS WE CHOSE, THE MATERIALS AND EVEN OUR BODIES AND SILHOUETTE. PANICKING ALREADY? PLEASE DON’T. ANYWAY, WHAT IS ART WITHOUT A BIT OF HARSHNESS AND A TOUCH OF DRAMA?

And this is it, fashion is above everything a form of art, a way to our hearts. Can one survive without the other?

We have been facing controversial times. The past two years were though and redirect our interests, tastes, needs, dreams. We can risk saying it changed everything, right? For this reason, we have a special curiosity to understand what the fashion industry is preparing for us in 2022. A time when is expected for all of us to get back to “normal”. Following this idea, we must say that during September and October, Paris put autumn on hold and focused on summer 2022. The classic fashion capital has returned to the traditional calendar with events full and emotions running high. Christian Dior, on the second day of the show, made crystal clear that he wanted to return to the runway shows in a big way. And so, he did! He presented a collection that invited each of us to take a trip through the 1960’s with a fantastic and distinguish runway. Maria Grazia Chiuri was once again inspired by a woman artist, this time the Italian Anna Paparatti, who even helped conceptualising the setin game board style. We saw the first collection presented live by Givenchy’s new designer, Matthew Williams. And it was confirmed that John Galliano remains a master at telling stories with clothes, as the video of his new collection for Martin Margiela proves. Dries van Noten has chosen not to return to live shows yet, but his proposals put an end to the simplicity of confining clothes and are an irresistible celebration of colours and shapes. At the Schiaparelli

house, Daniel Roseberry presented his collection at the headquarters on Place Vêndome and showed that he is determined to delve into

the surrealist influences that were the signature of founder Elsa in the first half of the 20th century. The ultra-embroidered garments or the gold jewellery that reinvents parts of the body promise to captivate fans. The week ended with the Louis Vuitton show at the Louvre Museum

and a guest list with many celebrities. In the year the brand celebrates the 200th anniversary of the birth of Louis Vuitton himself the show space was full of significance, as the Passage Richelieu was where Empress Eugenie met the house’s founder and purveyor of trunks. Still, is very important to keep some references that we didn’t talk about yet. Let’s see! At first glance, the Chanel catwalk looked like a simple catwalk, far from the extraordinary settings that the brand has got us used to under the luminous roof of the Grand Palais. But as the show begins, it becomes light and it turns out that the whole space is like a time machine that goes back to the 1980s, with photographers around the catwalk, models parading at a spontaneous pace and smiling for the cameras, and even the collection itself was inspired by the Chanel fashion of the time. Had Claudia Schiffer made a surprise visit to the catwalk and the public would certainly confirm on their smartphones the date we’re here. The collection started with black and white

swimwear and underwear, in a tribute to Karl Lagerfeld, and then

followed numerous looks that revisited the icons of the house in an excellent balance between inspiration and present time. There were tails in pastel shades, a variety of necklaces and many wallets in the classic matelassé effect that has been in fashion since 1955, back when the famous 2.55 wallet was created. At the Valentino house show the front row was transformed into a kind of café, with chairs and tables for guests, and the catwalk continued out into the street, making the road the stage for the show and the real cafés the audience, where guests of the brand were as well. To Pierpaolo Piccioli was very important that Valentino Garavani embarked on the youth fever of the 1960s and bringing about a change. He thinks that this is his way of doing the same thing now: keeping the codes and values of couture and talking about beauty, which is about humanity and a shared wardrobe. Incredible view, don’t you agree? The show opened with a Valentino look from the 1968 white collection and then it was pure Piccioli magic, in a collection with men’s and women’s looks, painted in all colours. Chloé set up her show by the Seine on the Quai de la Tournelle, with guests facing the åthe brand and to this great fashion stage the reflection on environmental and social responsibility. One example is the launch of Chloé Craft, a selection of handmade pieces. The collection highlights pieces made with artisanal techniques, trench coats and a focus on linen instead of cotton. Saint Laurent once again set a date at the foot of the Eiffel Tower with the iconic monument as a backdrop. Anthony Vaccarello’s collection was first and foremost a tribute to Paloma Picasso, once the founder’s muse and style icon. The proposals showed inspiration in menswear and 1980s looks, with special emphasis on collared fabrics, jumpsuits, and broad shoulders. The Balmain house’s fashion show was a tribute to its own creative director, Olivier Rousteing, who celebrates 10 years at the helm of the brand. If, when he arrived, aged just 25, he was a mixture of young prodigy and

surprise hire, a decade later his place on the fashion stage is more than assured, as is his signature style. Proof of all this was the show divided into two parts. First the prêt-à-porter spring/summer 2022 collection, with female and male proposals, a dominance of black and white in different textures and a selection of final looks that

was a personal reflection, since the clothes seemed to wrap the models in strips of fabric and this was Rousteing’s way of bringing to the catwalk a personal experience he recently lived, an accident during confinement that caused him burns and respective recovery in hospital. Then the room, filled with thousands of fans of the brand and the designer, plunged into darkness, and woke up to the sound of Beyoncé’s voice in a recording where the artist speaks to Olivier Rousteing and recounts the first time they met and the partnership for the shows at the Coachella festival in 2018. And because one diva was too little for such a celebration, the runway lights up again and a second show begins in capsule collection style, which is like a tour through the Balmain archives of the last decade, painted in neutral tones and presented by star models from different eras. By Rousteing returned to the catwalk Naomi Campbell, Natalia Vodianova, Natash Poly, Lara Stone, Carla Bruni and Milla Jovovich among other names. As has been usual for Demna Gvasalia, the creative director of Balenciaga presenting us with a surprise effect. He put together the elements of a runway show, shuffled and delivered an original presentation. Guests gathered at the Théâtre du Châtelet to watch on a giant screen the new collection being paraded on a red carpet, with the models wearing the skin of celebrities. At the end of the show, the models joined the audience and took their seats in the room to watch the biggest surprise of this presentation: a partnership between the Simpsons and Balenciaga. In a video of only 10 minutes, Gvasalia and his team travel to Springfield and back to Paris with the cast of the animated series to star in a parade of the designer’s most popular looks. Dolce & Gabbana showed up with an exquisite collection. They wanted to make something different but at the same time with a 2000’s mood. The reason for this is as we are finally facing the end of this pandemic, there is an urge to enjoy life, to dress pieces that gives us light and makes us feel good. It is easy to see the contrast between then and now: the use of logo underwear, the beaded sheer shirt combos, the pelmet mini, and the exposed lingerie are great examples of it. But most important, we could note an evolution in mentality regarding the means of production used. Upcycling is now a reality and a wonderful example of how brands are sensitive to this whole issue of climate change, thus using new strategies. Another great evolution is that D&G are now aware that when it comes to body shapes, the fashion industry didn’t evolve that much. Still, they have their eyes on the new generation and they are thinking about having a collection for sizes and shapes. Sexy is sexy, no matter what. Revolutionary, right?

CONTACTS

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