How Was The Paris Fashion Week For The Spring-summer 2021 Season: Dior, Chanel And Louis Vuitton Shows

Marine Serre

LVMH Prize winner Marine Serre named the new collection "Amor fati" (Love of Destiny). With this phrase, the philosopher Friedrich Nietzsche described an approach in which a person accepts everything that happens in his life, including mistakes, suffering and loss. In the video presentation of Marine Serre, this person is Juliette Meri, a friend and colleague of the designer, whom directors Sasha Barbin and Ryan Dubiago place in several dystopian mesmerizing or, conversely, frightening worlds. In each of them, the heroine is mistaken for her - all thanks to the crescent-shaped tattoos, which refer to the signature print of the French brand.

The same symbol, but already applied not on the body, but on the clothes, has the characters inhabiting each of the worlds: surgeons, nurses, believers and more phantasmagoric ones - "memory concentrators", "sports protectors" and "crystallized statues" (their roles are spelled out in the collection lookbook). For some, the crescent moon is decorated with single-breasted coats, fitted jackets and berets, for others - tops, bicycles and panamas with a built-in protective screen, and for others - tight overalls, similar to those that the sisters Jenner, Dua Lipa, Isabelle Huppert, Adele and Beyonce have already chosen in the clip for the track "Already". Some characters, such as the Iranian singer Sevdaliza, combine the jumpsuit with clothes made from recycled carpets. A responsible approach to the production of collections is one of the main guidelines of Marine Serre's work, aimed precisely atso as not to end up in a dystopian world.

1 of 40 Marine Serre, Spring-Summer 2021 © Marine Serre Press Service, Spring-Summer 2021 © Marine Serre Press Service, Spring-Summer 2021 © Marine Serre Press Service, Spring-Summer 2021 © Marine Serre Press Service, Spring-Summer 2021 © Marine Serre Press Service, Spring-Summer 2021 © Marine Serre Press Service, Spring-Summer 2021 © Marine Serre Press Service, Spring-Summer 2021 © Marine Serre Press Service, Spring-Summer 2021 © Press -Service Marine Serre, Spring-Summer 2021 © Press Service Marine Serre, Spring-Summer 2021 © Press Service Marine Serre, Spring-Summer 2021 © Press Service Marine Serre, Spring-Summer 2021 © Press Service Marine Serre, Spring -Summer 2021 © Marine Serre Press Service, Spring-Summer 2021 © Marine Serre Press Service, Spring-Summer 2021 © Marine Serre Press Service, Spring-Summer 2021 © Marine Serre Press Service, Spring-Summer 2021 © Press- Marine Serre service,Spring-Summer 2021 © Marine Serre Press Service, Spring-Summer 2021 © Marine Serre Press Service, Spring-Summer 2021 © Marine Serre Press Service, Spring-Summer 2021 © Marine Serre Press Service, Spring-Summer 2021 © Press -Service Marine Serre, Spring-Summer 2021 © Press Service Marine Serre, Spring-Summer 2021 © Press Service Marine Serre, Spring-Summer 2021 © Press Service Marine Serre, Spring-Summer 2021 © Press Service Marine Serre, Spring -Summer 2021 © Marine Serre Press Service, Spring-Summer 2021 © Marine Serre Press Service, Spring-Summer 2021 © Marine Serre Press Service, Spring-Summer 2021 © Marine Serre Press Service, Spring-Summer 2021 © Press- Marine Serre Spring-Summer 2021 © Marine Serre Press, Spring-Summer 2021 © Marine Serre Press, Spring-Summer 2021 © Marine Serre Press, Spring-Summer 2021 © Marine Serre Press, Spring-Summer summer 2021 © press service Marine Serre,spring-summer 2021 © Marine Serre press service, spring-summer 2021 © Marine Serre press-service, spring-summer 2021 © press service

Dior

Dior is one of the few brands to organize an offline show during the spring-summer 2021 fashion weeks. Photographer Ellen von Unwerth, actress Maisie Williams, philanthropist Natalia Vodianova and other guests gathered in the Parisian Tuileries Garden, where the team of the fashion house broke a space with multi-colored stained glass windows. They are the result of the work of the Italian avant-garde artist Lucia Marucci, based on the collage technique. Colorful and varied designs appeared in the collection itself: on dresses with voluminous sleeves, high-waisted shorts and kimono-style jackets. Clothes with prints and embroideries that refer to cultures from Japan to Indonesia were balanced by simpler linen skirts, leather vests, denim jackets and white cotton shirts. When creating the latter, the creative director of the brand Maria Grazia Chiuri,according to her, she kept in her head the restrained, but not boring image of the writer Susan Sontag.

At some point, the atmosphere of the show, emphasized by the performance of the women's choir Sequenza 9.3, was destroyed by an eco-activist who ran onto the podium with a poster "We Are All Fashion Victims" (We are all victims of fashion). The slogan coexisted with the emblem of the Extinction Rebellion movement, which opposes the fashion industry, which, according to activists, causes serious harm to the environment. Loud social statements are becoming an integral part of the Dior show, regardless of the wishes of the designer. In past seasons, Curie has spoken eloquently on the theme of feminism with T-shirts that read "We should all be feminists", "Why weren't there great women artists?" and Sisterhood Global.

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Kenzo

“How can you define a reality that no one understands in part or in full? How can you draw conclusions from a situation that is far from over and the consequences of which cannot be predicted? The world is sick, the world is bleeding, but it is still alive. And as long as there is life, there is hope,”Kenzo creative director Felipe Oliveira Baptista wrote in an open letter. In the new collection, he turned to the symbols of life - flowers, in particular to the red poppies, which have historical significance for the Japanese brand. In 2000, they adorned a bottle of Flower by Kenzo, and today - relaxed suits, flying windbreakers, shirts with patch pockets, cocoon dresses and hats with veils imitating beekeeper headdresses.

Bees are another symbol that Felipe Oliveira Baptista worked with. The insects did not appear in the collection itself, but on the updated Kenzo logo and as a pattern on the asphalt in front of the show. “Bees and beekeepers, with their mesmerizing clothing and hats, reflect the instability and distance introduced and needed today. Travel, mirage of dreams, hope, excitement and discovery. We will not give up on this,”the designer continued in his letter with optimism and courage. These qualities, like the red poppies, are the DNA of the Kenzo brand, founded by perhaps the most upbeat Japanese fashion known, Kenzo Takada. He passed away at the age of 81 on October 4, just five days after his successor's symbolic and touching show.

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Dries van noten

The Belgian designer Dries van Noten has fully experienced the fact that the crisis is a time of opportunity. In order not to expose his brand's friends and customers to danger due to the coronavirus pandemic, he decided to show the new collection through an advertising campaign. She became the first in 34 years of van Noten's career, who fundamentally does not shoot and does not dress stars. In the development he was assisted by Dutch photographer Vivian Sassen, whose photographs, as the designer admits, are often present in the mood board of his collections. Sassen shot one part of the images on the beach in Rotterdam, and the other in the studio, projecting onto the walls the work of the New Zealand avant-garde artist Len Lai. They gave filming the dynamics that van Noten lacks in the absence of previous large-scale and safe fashion shows.

The collection itself has become dynamic: vests made of metal rings tinkling in the wind, chiffon blouses with beaded embroidery, one-piece swimsuits with rainbow prints, men's shirts with paint stains and voluminous PVC raincoats - one of the designer's favorite materials.

“We wanted to work around beauty that awakens energy,” commented Dries van Noten. "Not the one that makes you dream or linger on things from the past, promotes nostalgia, but the one that pushes you towards the future, gives strength."

1 of 25 Dries Van Noten, Spring-Summer 2021 © Press Office Dries Van Noten, Spring-Summer 2021 © Press Office Dries Van Noten, Spring-Summer 2021 © Press Office Dries Van Noten, Spring-Summer 2021 © Press Office Dries Van Noten Spring-Summer 2021 © Press Office Dries Van Noten Spring-Summer 2021 © Press Office Dries Van Noten Spring-Summer 2021 © Press Office Dries Van Noten Spring-Summer 2021 © Press Office Dries Van Noten, Spring-Summer 2021 © Press Office Dries Van Noten, Spring-Summer 2021 © Press Office Dries Van Noten, Spring-Summer 2021 © Press Office Dries Van Noten, Spring-Summer 2021 © Press Office Dries Van Noten Spring-Summer 2021 © Press Office Dries Van Noten, Spring-Summer 2021 © Press Office Dries Van Noten, Spring-Summer 2021 © Press Office Dries Van Noten, Spring-Summer 2021 © Press Office Dries Van Noten, Spring -Summer 2021 © Press Office Dries Van Noten,Spring-Summer 2021 © Press Office Dries Van Noten, Spring-Summer 2021 © Press Office Dries Van Noten, Spring-Summer 2021 © Press Office Dries Van Noten, Spring-Summer 2021 © Press Office Dries Van Noten, Spring- Summer 2021 © Press Office Dries Van Noten, Spring-Summer 2021 © Press Office Dries Van Noten, Spring-Summer 2021 © Press Office Dries Van Noten, Spring-Summer 2021 © Press Office

Balmain

The Balmain show at the Parisian Garden of Plants opened with a small sketch invented by Olivier Sayard, fashion historian, art consultant and former director of the Galliere Museum. The action was attended by the creative director of the brand Olivier Rousteing and the founder of Balmain Pierre Balmain - albeit through the included archived audio. In it, the designer spoke about the superiority of French elegance and the benefits of black, reflected in the signature PB monogram of the 70s. Balmain used it to decorate suitcases and bags, and Rusten used it to decorate wide trousers with a high waist, tight-fitting overalls with hypertrophied shoulders, as well as capes and suits, in which several models of the past appeared on the catwalk.

Jennifer Lopez was also wearing clothes with a modernized monogram, who, due to closed borders, could not come to the show, but still attended it. The Balmain team lined up a series of televisions along the runway, from which friends and customers of the brand watched the show. In addition to J. Lo, these are Anna Wintour, Alexa Chung, Cindy Crawford, Claudia Schiffer, Mila Jovovich and Cara Delevingne, who danced to the soundtrack of The Weeknd and shot their favorite female, male and even children's images through the screen. Among them - suits in neon shades, jackets on one shoulder, draped tops with a throat, tight cocoon dresses and transparent jumpers with Swarovski crystals, the total number of which in the new collection has reached 2 million.

1 of 40 Balmain, Spring-Summer 2021 © Balmain Press, Spring-Summer 2021 © Balmain Press, Spring-Summer 2021 © Balmain Press, Spring-Summer 2021 © Balmain Press, Spring-Summer 2021 © Balmain Press Office, Spring-Summer 2021 © Balmain Press Office, Spring-Summer 2021 © Balmain Press Office, Spring-Summer 2021 © Balmain Press Office, Spring-Summer 2021 © Balmain Press Office, Spring-Summer 2021 © Balmain Press Office, Spring-Summer 2021 © Balmain Press Office, Spring-Summer 2021 © Balmain Press Office, Spring-Summer 2021 © Balmain Press Office, Spring-Summer 2021 © Balmain Press Office, Spring-Summer 2021 © Balmain Press Office, Spring-Summer 2021 © Balmain Press Office, Spring-Summer 2021 © Balmain Press Office, Spring-Summer 2021 © Balmain Press Office, Spring-Summer 2021 © Balmain Press Office, Spring-Summer 2021 © Balmain Press Office, Spring-Summer 2021 © Balmain Press Office,Spring-Summer 2021 © Balmain Press Office, Spring-Summer 2021 © Balmain Press Office, Spring-Summer 2021 © Balmain Press Office, Spring-Summer 2021 © Balmain Press Office, Spring-Summer 2021 © Balmain Press Office, Spring-Summer 2021 © Balmain Press Office, Spring-Summer 2021 © Balmain Press Office, Spring-Summer 2021 © Balmain Press Office, Spring-Summer 2021 © Balmain Press Office, Spring-Summer 2021 © Balmain Press Office, Spring-Summer 2021 © Balmain Press Office, Spring-Summer 2021 © Balmain Press Office, Spring-Summer 2021 © Balmain Press Office, Spring-Summer 2021 © Balmain Press Office, Spring-Summer 2021 © Balmain Press Office, Spring-Summer 2021 © Balmain Press Office, Spring-Summer 2021 Balmain, Spring-Summer 2021 © Balmain Press Office, Spring-Summer 2021 © Press OfficeSpring-Summer 2021 © Balmain Press Office, Spring-Summer 2021 © Balmain Press Office, Spring-Summer 2021 © Balmain Press Office, Spring-Summer 2021 © Balmain Press Office, Spring-Summer 2021 © Balmain Press Office, Spring-Summer 2021 © Balmain Press Office, Spring-Summer 2021 © Balmain Press Office, Spring-Summer 2021 © Balmain Press Office, Spring-Summer 2021 © Balmain Press Office, Spring-Summer 2021 © Balmain Press Office, Spring-Summer 2021 © Balmain Press, Spring-Summer 2021 © Balmain Press, Spring-Summer 2021 © Balmain Press, Spring-Summer 2021 Balmain, Spring-Summer 2021 © Balmain Press, Spring-Summer 2021 © press serviceSpring-Summer 2021 © Balmain Press Office, Spring-Summer 2021 © Balmain Press Office, Spring-Summer 2021 © Balmain Press Office, Spring-Summer 2021 © Balmain Press Office, Spring-Summer 2021 © Balmain Press Office, Spring-Summer 2021 © Balmain Press Office, Spring-Summer 2021 © Balmain Press Office, Spring-Summer 2021 © Balmain Press Office, Spring-Summer 2021 © Balmain Press Office, Spring-Summer 2021 © Balmain Press Office, Spring-Summer 2021 © Balmain Press, Spring-Summer 2021 © Balmain Press, Spring-Summer 2021 © Balmain Press, Spring-Summer 2021 Balmain, Spring-Summer 2021 © Balmain Press, Spring-Summer 2021 © press serviceSpring-Summer 2021 © Balmain Press Office, Spring-Summer 2021 © Balmain Press Office, Spring-Summer 2021 © Balmain Press Office, Spring-Summer 2021 © Balmain Press Office, Spring-Summer 2021 © Balmain Press Office, Spring-Summer 2021 © Press Office Balmain, Spring-Summer 2021 © Press Office Balmain, Spring-Summer 2021 Balmain, Spring-Summer 2021 © Press Office Balmain, Spring-Summer 2021 © Press OfficeSpring-Summer 2021 © Balmain Press Office, Spring-Summer 2021 © Balmain Press Office, Spring-Summer 2021 © Balmain Press Office, Spring-Summer 2021 © Balmain Press Office, Spring-Summer 2021 © Balmain Press Office, Spring-Summer 2021 © Press Office Balmain, Spring-Summer 2021 © Press Office Balmain, Spring-Summer 2021 Balmain, Spring-Summer 2021 © Press Office Balmain, Spring-Summer 2021 © Press Office

Hermès

After the women's collection for the fall-winter 2020/21 season, based on the works of Malevich and Mondrian, Hermès creative director Nadezh Vane-Cybulski, in her own words, has created her most minimalist collection. In it, the designer seemed to combine what she learned while working at Celine and The Row, namely, achieving expressiveness, sexuality and strength without any decor. As the main tools for this, Vane-Cybulski used natural materials (from poplin to suede), natural shades (from milky to sky blue), architectural cut and, at the same time, a relaxed silhouette, which the designer drew from the image of American women. It seems that only they can combine straight skirts made of matte leather, classic black suits and aprons with wide straps with clogs so that it does not look strange.

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Givenchy

In June, Claire Waight Keller took over as Creative Director for Givenchy, self-taught designer, founder of streetwear label 1017 Alyx 9SM Matthew Williams. The last time the same rebel took over the head of the French fashion house was in 1997 - it was Alexander McQueen, who, however, did not last long in his position.

It was to his works for Givenchy that Matthew Williams' first collection appealed: the debutant interpreted the horns, in the form of which the headwear and the heels of the pumps were originally made, placing them on leather baseball caps. Another nod to McQueen is the toe-divider sandals, which complement the sleeved coats, crumpled paper trousers, shimmery cropped jackets and bandage dresses inspired by the 2000s-inspired Hervé Leger. Another styling tool that Lotta Volkova, the permanent companion of Balenciaga creative director Demna Gvasalia, worked on, was a massive lock that hung from thin straps and miniature versions of Antigona bags. For Matthew Williams himself, the detail reminded of the habit of tourists leaving locks on Parisian bridges and throwing keys into the Seine.

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Chanel

The history of Chanel is inextricably linked with cinema: the costumes by the founder of the fashion house Gabrielle Chanel have appeared in films such as La Marseillaise by Jean Renoir, Lift to the Scaffold by Louis Malle and Last Year in Marienbad by Alain René. The main characters of the tapes became close friends of the brand, and this tradition continues to this day: for example, Kristen Stewart, Penelope Cruz and Margot Robbie starred in Chanel advertising campaigns.

Creative director Virginie Viard said that this season she was thinking about the actresses: about how they behave on the red carpet - posing for photographers and smiling at fans. There was no red carpet at the Grand Palais, where the Chanel show took place, but there was a huge sign with the name of the brand, imitating the inscription "Hollywood" in the Hollywood hills.

References to cinema were present not only in the set design, but also in the collection itself: in red total bows one could recognize Anna Karina in Mad Pierrot, in dresses with sequins and skirts with feathers - Marlene Dietrich in Morocco, in jackets with contrasting fold-over collars - Jeanne Marot in Lift to the Scaffold, and in white perforated sets - Jane Birkin in The Pool. Cinematic clothing did not distract attention from accessories: dramatic veils, tiaras with the Chanel logo and 2.55 bags turned into key rings.

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Miu Miu

Miu Miu's creative director Miuccia Prada, like Olivier Rousteing, organized a virtual front row at the show, which was held without guests. Influencers and stars from different countries watched how the new collection combines polar elements: reality with fantasy, practicality with beauty, sportswear with evening wear. This coat with embroidered collars and jogging sneakers, multicolored sweatshirts and sandals with beads, transparent tops with ruffles and cotton elastic skirts, sweatpants with stripes and a Miu Belle bag. Lila Grace Moss, daughter of Kate Moss and co-founder of Dazed Jefferson Huck, presented several contrasting looks. The 18-year-old girl has already collaborated with Miu Miu for the filming of an advertising campaign, but she appeared on the catwalk for the first time.

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Louis Vuitton

Louis Vuitton, which held a show last season in the Louvre, which was already closed for quarantine, this time chose the top floor of the Samariten shopping center. The French brand's show was the first event at the complex in 15 years: it was closed due to security concerns in 2005 and promises to reopen thanks to the patronage of LVMH in 2021. Up to this point, Nicolas Ghesquière's team was allowed to do almost anything with the interior, and she placed on the walls of the chroma key with the moodboard of the spring-summer 2021 collection, in particular, frames from the film "Sky over Berlin" by Wim Wenders.

Freedom of expression also reigned on the runway itself: designer Louis Vuitton showed minimalistic raincoats paired with Skate T-shirts, a 70s-style coat paired with long neon clutches and chainmail-style dresses paired with pointed sneakers. Nicolas Ghesquière even allowed himself to speak out openly on the topic of politics: he had previously criticized the actions of Donald Trump, but now he did it through clothes. The show was opened by a model wearing a "Vote" T-shirt, reminding that the coronavirus pandemic is not the only urgent problem.

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