weekend fashion shows, from sunflower prints to thigh high clogs – Liberation

It is an unspectacular aspect of Fashion Week, albeit ubiquitous, that alternates between the parades: the presentation of the collections in a limited commission, at the brands (in the store or at the head office). The trial is very pleasant, reminding us of the trial organized at Paul Smith on Sunday afternoon. The affair takes place in the Parisian headquarters of the brand, a charming mansion in the Marais, in the presence of the always sympathetic British gentleman, who details a handful of silhouettes, after a very groovy mini concert by the French-Senegalese singer, Anaïs, based in London.

It’s stopped raining, the sun is back, exactly in the mood of the dressing room: playful, cheerful, immediately friendly because it’s easy. The colors are really in season: yellow (including a lovely sunflower print), sky blue, orange, green, taupe, with a few puffs of black for the evening (including a two-button tuxedo over wide pants that we want right away). The looks recall Paul Smith’s ease in all-terrain elegance, never snobbish, aloof from the need to “know”. It remains true to the telescopic printing (square-flowers) as to the stripe, and remains an ace. Mention the perfectly feminized suits, with the very narrow cut from the bust to the hips before they flare out, and their fashionable colors. And it’s a great idea that the tie is suddenly more playful than formal.

This enthusiastic and light frame of mind can be found in the French-Turkish Ece-Ege, at the head of Dice Kayek, who also receives at home, in the brand’s germanopratine boutique. Between two loukoums to die for, we are excited about long caftan-inspired dresses with psychedelic prints (orange and green) very 70s, or else ephemeral mini-dresses similar to the nightgown but with chaste arms, roomy trousers whose crotch fall so low that they take on the appearance of skirts, blouses and falsely innocent white dresses with their transparent embroidery, which sparkle with more frontal pieces, shockingly pink or clunky.

On the feet, mules that break the cocktail dress lace for young girls from very good families. These dialogues (even these tensions) between classicism and insolence, discretion and seduction, formalism and relaxation, East and West, are the core of Ece Ege’s work and make it salty. They also review the video accompanying the collection, where castle beauties track down a beast with rifle and crossbow, between virgin suicides and girl gang.

At the head of the design studio of the venerable Japanese house Issey Miyake, satoshi kondo takes inspiration under the sea, far from the almost permanent chaos that reigns on dry land. “A Voyage in Descent”, the name of the collection, evokes an unknown world where fluidity is essential. A series of dresses composed of geometric pieces, circles of fabric with wide pleats, reveal types of waves scattered over the female bodies (sometimes appearing white and black or pink, blue and turquoise).

New never-before-seen lines appear this season, proving that Issey Miyake’s team is not resting on its laurels, with sets made in a “spiral knit fabric”, specifies the press release of the house. It wraps around the model and gives the impression of floating in an amazing and innovative sculpture garment, in a short white dress version or in a navy blue ensemble, cropped trousers and sweater cape. The preppy Japanese-style look is also worth a detour: black clip-on bermudas, austere banana – a small rectangular leather shell – on the belt and a white shirt with an officer collar, like this immaculate beige trench coat, with a graphic cutout, which the drops almost would like.

Montage based on photos from the Issey Miyake show on Friday in Paris. (Henrike Stahl/Liberation)

Fashionable warrior : that is how Matthew M. Williams clearly tackled her first “physical” show at Givenchy – his appointment in June 2020 had the Covid as background. Sunday night the device was spectacular: a huge oval structure in black and white, looking like a half-open flying saucer, placed in the middle of the Defense Arena, in the heart of the business district. The soundtrack, signed by rapper Young Thug, is no joke. And the proposal is both huge, 76 looks (male and female) and sharp, fierce as the girl opening the show, head down but looking straight. Her outfit is emblematic of what was to follow: a sculpted coat, reminiscent of both the corset and the doublet, with a double-zip collar, worn over mini shorts at the edge of which second-skin thigh-high clogs terminate – ubiquitous throughout the collection.

we think of cosmopolis de Cronenberg (2012), abandons the cliché of summer synonymous with softness and fresh air, giving way to macadamian warriors whose obviously very elaborate and refined clothing serves as a breastplate, be it pastel, transparent or softened with lace or tulle is. This side dark is confirmed by the collaboration with the American artist Josh Smith who plays with death, the main character reminiscent of the covers of novels by Stephen King. In the accessories section, there’s a Halloween pumpkin bag, huge bracelet chains and… a slipknot necklace that already makes people cringe, for its resemblance to a Burberry model but also for its morbid side.

The brand of the Belgian designer Ann Demeulemeester (which left the ship in 2013) now sails under the Italian flag, bought last year by Claudio Antonioli, also co-founder of New Guards Group – which notably owns Off-White, Heron Preston and the accessory brand Ambush. Heading the foundation of the Demeulemeester house for seven years, the Frenchman Sébastien Meunier has stopped designing the collections since the Italian came to power. Antonioli has for the time being chosen to let the – anonymous – design studio reinject something new into the historic allure of the brand, to rediscover the soul of the early days, when Ann Demeulemeester marked fashion with minimal ready-to-wear. , without overzealous.

On Sunday, at the secondary school of Carnot (17th arrondissement), the collection progresses as an “i”, mixed and androgynous, in black and white typical of Demeulemeester. The models’ long silhouettes are accentuated by the exaggerated waistlines of the denim or white leather skirts and the black and wide trousers that sweep across the floor. Some models, wearing bowler hats, have their cheeks painted with a “love” or a “lightning across the sky”, which contrasts sharply with their closed faces, their somewhat stern gait. Connoisseurs of the Demeulemeester style, adored in the 90s, will see the tank tops that she “hyped” in her time and that flooded this last show, worn under suit jackets and baggy overcoats, covered with suit jackets, or in a dress (white ) , fastened with black cotton straps sewn on the back, or worn as a suit of armor. Because yes, it is confirmation, the armor is spreading everywhere.

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