What appeared to be an adverse and irreconcilable context for fashion, unable to carry out shows in the traditional way due to the pandemic, proved, in turn, an opportunity for creativity to fly. This was the prerogative when presenting the fall-winter 2021/22 collections at Paris Fashion Week which took place in the French capital from March 1 to 10, where hope and the desire for freedom appeared among the fabrics.
The return to life of Lanvin, under the creative direction of Bruno Sialelli, it is the perfect manifestation of the hope and optimism of the post-pandemic. With Rich girl of Gwen Stefani in the background and models walking in the manner of the supermodels of the ’90s, the French house regained the shine it had lost in recent decades. Vivid colors, outrageous glam, feathers, sparkles, opulence, pure fun and little solemnity. The big reveal of the season.
Optimism also reached almost 3,000 meters high in Cortina d’Ampezzo, a city in the Italian Alps, where Miuccia prada presented the “Miu Miu Mountain Club”. Styled by Lotta Volkova, the creator of the Balenciaga and Vêtements aesthetic, in Miu Miu there are sports and high mountain influences, with bright colors, glitter and transparencies in a kind of cocktail wardrobe for extreme climates. The highlight: the yeti fur boots.
In another order of priorities, Marine Serre chose to design clothes for day to day. Through her website, the designer chose to show something away from the distant and sophisticated image of fashion. A series of videos of the everyday, a digital patchwork of clippings of multiple lives, give an idea of connection and intimacy. Infused with a countercultural spirit, with influences from the ’70s, Islamic, Roma and African and a use of tattoos in the manner of Jean-Paul Gaultier, this collection is definitely one of the winners of the Paris Fashion Week.
With the song Around the World, of the recently separated French group Daft Punk, in the background, Louis Vuitton closed Fashion Week with a simple and clean show. Prioritizing comfort and with a Greco-Roman theme, Nicolas Ghesquière opted for simple but voluminous lines that refer to the maximalism of the ’80s, replaced logos with prints, incorporated brightness, color and a sporty touch, presenting a sophisticated, modern and ready-to-wear.
Special mentions: Acne Studios for creating clothes that lend themselves to being worn, a great set of accessories and Instagram-friendly outfits and Christian dior for portraying strong women and incorporating dance into his show and maintaining the stylistic keys of the house.
Uruguayan Gabriela Hearst debuted in Chloé with a collection faithful to the essence of the brand. With a boho, fresh, natural, earthy and nurturing aesthetic, the creative director makes a strong and safe entrance updating classics and referring to the times of the founder of the Maison, Gaby Aghion, with a Latin American twist.
Diametrically opposite is the proposal of Matthew Williams at the head of Givenchy, what do you think a hybrid between the Japanese avant-garde, technical clothing and androgynous hypersexuality by Anthony Vaccarello for Saint Laurent (which, like Balenciaga, is conspicuous by its absence). It is not clear where you want to go but it is entertaining to watch.
Lastly, it stands out by concept (though not by design), Coperni who performed a drive-in show: from their cars, the attendees witnessed the parade of a simple and versatile collection, sportswear for the night.