The French capital was never imbued with the idea of see now, buy now: the principle of “came, saw, bought” was offered to its customers only by the H&M brand, which is no stranger to living in the fast fashion format. But all other brands continue to work in the old fashioned way: their collections will be on rails closer to autumn. Which, in general, is even on hand: there is time to decide and make a wish-list.
Remember how mass New Yorkers rejected screenings in favor of chamber presentations? Well, this also happened in Paris with a couple of marks, but mostly not by their will. Having lost its creative director Givenchy simply "re-released" 27 outfits invented by Ricardo Tisci in the main color of the season - red. The Carven collection also turned out to be "transitional" (and therefore not admitted to the catwalk): the Swiss Serge Rufier is just starting his duties, while a team headed by a designer who wished to remain anonymous worked on the fall-winter. The debut of Rufier, as obviously the successor of Tisha, will take place next season. And these will not be the only attempts at writing: Claire Waite Keller, who ruled Chloé for six years, also vacated the throne., and gave her last performance at the last Fashion Week.
But let's not talk about sad things. Moreover, there are enough reasons for joy. These collections are just one of them.
Chanel
Karl Lagerfeld is a great specialist in spectacular shows. Having tested all earthly entertainment (in different years, at the direction of the Kaiser, the Grand Palais was turned into a supermarket, airport, casino and even a bistro), the designer decided that it was time to conquer other planets - and dressed the models as astronauts. Of course, very fashionable: instead of spacesuits - tweed, on the legs - two-colored, and sometimes shining no worse than the constellations boots.
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Balenciaga
Creative director Demna Gvasalia thoroughly rummaged through the archives of the fashion house entrusted to him and has composed a collection that will certainly delight those who found the designer's previous "experiences" unsatisfactory and too challenging. These are direct quotes from the work of Cristobal Balenciaga: there is an "amphora" dress, as from the summer collection of 1959, and a "miracle in feathers", clearly referring to 1965, and many other reincarnations. However, the down jackets that began the history of Gvasalia in Balenciaga have not gone anywhere. Only now they need to be worn without opening the shoulders, but with the wrong buttoning.
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Dior
The revolutionary tone set by Maria Grazia Chiuri in the debut collection for the fashion house (by the way, she just entered Dior stores around the world, although since the premiere in October last year, under the auspices of the Italian designer, they managed to present more pre-fall and haute couture) only gets stronger. The fencers were replaced by factory workers - like the riveter Rosie from the well-known poster "We can do!" Workwear from a brand that started with high fashion - is it really a riot?
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Louis Vuitton
They say that it was the representatives of the Louvre who suggested Louis Vuitton to arrange a show in the central atrium, where, along with the collection and the numerous muses of the brand (Michelle Williams, Catherine Deneuve, Lea Seydoux - in the front row, perhaps Alicia Vikander was missing), the attention of photographers was shared by the sculptures-exhibits. And this seems logical, even natural: in the performance of Nicolas Ghesquière, dresses, coats and bags have already repeatedly become objects of art. And this time is no exception.
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Dries van noten
Anniversary - hundredth! - display of the brand - naturally a retrospective of the Belgian's creativity. Worn on fifty of his favorite fashion models: from the German Nadia Auerman to the Ethiopian Liya Kebede, from the Dutch Esther De Jong to the American Carolyn Murphy. 20 years old (Russian woman Odette Pavlova fell into this category), 30, 40, 50 - Van Noten clearly shows that his clothes are beyond age. And timeless: the echoes of collections from the early nineties look just as fresh as those prints that moved to coats and dresses literally from the season before last.
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Hermès
Hermès has never positioned itself as a high fashion house: instead of couturiers, artisans have always ruled the ball here. Nevertheless, the Frenchwoman Nadezh Vane-Cybulski, who three years ago received the post of creative director of the brand (by the way, for the first time a woman was hired for this position), approaches the details with such care that is usually associated with haute couture. And he does not forget about the heritage of the brand: a thin leather choker worn over the neck of a cashmere sweater, and a coat that partly resembles a blanket, hints at horse riding.
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