Massive light-bulb-encrusted letters that spell CHANEL shimmered across an esplanade at Grand Palais on the last day of Paris Fashion Week prefacing a collection that honoured the cinema industry.
Paris — Stunning lightbulb-covered letters that spell CHANEL glittered on an esplanade at Grand Palais on the last day of Paris Fashion Week prefacing a collection of films that honoured the industry. It brought a sense of nostalgia for simpler times in this less-virus-hit season that is notable for its absence of stars.
Like Milan, Paris has undertaken an unusual fashion season in Spring-Summer 2024 due to this coronavirus-related pandemic. The nine-day calendar featured an assortment of runway shows with guests masked sitting in rows, live presentations and digital shows that were streamed online and accompanied by promotional videos.
Here are the highlights of Tuesday’s news:
CHANEL’S CINEMA
A few American actors who normally go to Chanel, the main event in Paris Fashion Week, stayed at home. However, fashion designer Virginie Viard envisioned the glamour of earlier times. Her festive collection reflected the glamour of the Hollywood or Cannes film star machine and its media circus, aptly including the Oscar-winning French actor Marion Cotillard on the front row.
“I was thinking about actresses at the photocall, coming off the red carpet: their faces a little distracted, their attitude a little out of sync with the outfits they’re wearing … this very lively side to cinema that happens beyond cinema,” Viard stated.
It was a mix of high-end glamour mixed with casual chic in a collection known for its shoulder silhouettes that were exaggeratedly wide and round or flat and diagonal.
For the affluent, the upscale, there were ecru and black tweed skirts -the house’s signature. The most stylish was a tough knit black suit with round shoulders, an incredibly cinched waist, massive tubular arms and big white shirt cuffs that were visible and collar. It made a gorgeous silhouette against the white-list runway.
Some of the casual styles did let the collection fall. Prints that were large and vibrant, like a turtleneck and cross-over dress balloon letters that spell out the brand’s name to invoke neon lighting. However, the colours were not harmonious, and sometimes it appeared like the designer was trying to be trendy.
However, there were many stand-out moments. A shoulderless black mini dress was the epitome of elegance and had a silky black skirt that fluttered gently towards the ankles to reveal the legs. An untidy black silk top featured stunning white feathers swooshes that hung like leashes.
As a touch of nostalgia, This could be the last Chanel performance in the Grand Palais for years. The venue has announced that it will close between December 2020 and March 2024 to undergo renovations, to be reopened before the Paris Olympics of 2024.
LOUIS VUITTON
This season’s goal for the powerhouse Louis Vuitton was to dissolve fashion’s masculine and feminine aspects.
“(To investigate) an area of sensitive which erases gender and promises endless possibilities for creativity. What would an in-between dress appear to be like?” the house asked.
The designer Nicolas Ghesquiere used that as an inspiration for a varied and vibrant collection of models with hairstyles and looks that were androgynous. Fashion is an industry that is shifting towards co-ed fashions in recent seasons, and it’s an important moment when a brand as strong as Louis Vuitton decides to look at this theme with such a clear approach to clothes.
The collection was a mix of the sporty look with hints of masculinity. Although a wool coat that was cross-over with a peach-yellow hue and an angular, T-shaped silhouette was likely a piece for a woman, a variety of other clothes for spring-summer were able to fulfil the unisex (and highly fashionable) task.
The belt buckled on the trench coat for men symbolised leitmotif. It appeared as an oversized version in black, striped, tan, white and green. Its loose edge was designed to be hung down the leg.
The biker’s jacket was large and cropped to resemble an oversized Bolero. One of the most memorable pieces was a V-neck, sleeveless, check knit sweater with elegant sage leather shoulders, which were so lavish it featured a band to fasten the lower half to make it fit the figure. It was probably a humorous allusion to the women that wear boyfriend’s clothes, and it was stylish.
Stars Alicia Vikander and Lea Seydoux were cheered on from the front row.
VUITTON’S PENCHANT FOR THE CAMERAS
Fashion is described to be an industry which is always evolving. This is usually a good aspect since moving on towards new concepts and methods for displaying fashion can be the way trends are created and the industry’s lifeblood.
Currently, many houses are streaming their fashion collections via Instagram and other sites to allow their brands to be more accessible to the public, which is admirable and in the future. It can help make fashion more accessible by allowing it to be seen by more than the 200 people who attend the show in person.
However, Louis Vuitton is one house that appears to be slightly trigger-happy in its efforts to record and show its shows digitally. This could distract viewers from watching the show by the editors, who are among the program’s primary purposes.
This is a phenomenon that predates the coronavirus pandemic many years.
The show on Tuesday was a bit crowded. Guests could not view the entire collection due to the over 100 camera obstacles placed on poles along the Louis Vuitton runway. Two camera poles were set in front of almost all guests within the hall of the main runway.
The collection began when it first started. massive cameras mounted on rollers were moved up and down
MIU MIU DAZZLES WITH COLOR
Miuccia Prada’s teen sister house Miu Miu is known for its unique designs that can think deeply. In the current season, Prada looked at the fashions of the 1980s and added a splash of colour.
The collection appeared to have weaved every bright hue into the 53 designs. It could be seen as a sign of hope within one of the dark seasons of fashion.
Blood orange sparkled in a vintage tracksuit and sweatpants. Persian blue sparkled on a slouchy turtle neck. Satin sheen gold was an elegant touch to the vintage jacket and the sporty split skirt. Elderberry was the main part of a halterneck that was geometrically striped with a dark, sporty sienna skirt that looked Piet Mondrian and part Wimbledon.
One dress was in one of the most vibrant colours that had previously been on the Paris runway: a bright, pure citrine so powerful that the silhouette could not be distinguished.
