The Spring Summer 2020 Paris catwalk season has come to a full stop. It
began last Monday with Mame Kurogouchi and ended with Louis Vuitton 8 days
later on Tuesday evening. A key takeaway from the Paris shows sees brands
making outward commitments to sustainability as the echoes of climate
change loudly reveberate through the insular walls of the fashion industry.
At Dior, an inclusive garden translated into a magical forest of trees,
which creative director Maria Grazia Chiuri collaborated on with Coloco, a
Paris-based environmental design collective. The purpose was to re-plant
the trees across Paris after the show as part of its regeneration projects.
Back when Raf Simons launched his first collection at the same house in
2012, a million flowers were used for a bounteous floral backdrop, though
at the time there was no communication from the house of Dior as to the
fate of the blooms. In 2019 it is no longer acceptable to plunder nature
for the eyes of fashion’s tastemakers.
Chiuri’s presentation received mixed reviews, with some editors
enthusing it was “utterly lovely,” and others labeling it “product-driven”
and “dull.” The floral printed dresses, many of which were appliquéd,
printed or embroidered, were an exquisite ode to nature.
Catwalkpictures
Sustainable catwalk season
Stella McCartney has quietly grown into a veteran of ethical fashion,
which this season evolved into her most eco-friendly collection to date
with 75 percent of used materials being sustainable. McCartney said 90
percent of all of the cotton used is organic, as was 100 percent of the
denim. Accessories were made with hemp and sustainable raffia. Just exactly
how the jeans were sustainably treated to create an acid-wash look was not
clear, as denim washing is one of the least ethical production
practises.
Catwalkpictures
Dries van Noten x Christian Lacroix
Floral jacquards, garments woven on antique looms and sumptuous colour
juxtapositions brought magic to Paris fashion week in the most intriguing
collaboration of masterminds the industry has seen of late. Rising far
above the High Street Giant x Luxury Designer collaboration, this was an
exquisite partnership from the first exit of a belted jacket and feathered
hair piece, to the ostrich frays on the bridal cape of the last look.
Describing the partnership, Mr van Noten said in a statement: “The plot was
hatched naturally and at the very start of the season, I found myself
needing exuberance, opulence, another volume and fun!. I was constantly
drawn to the Eighties and Nineties, to a love of dressing up, to couture,
to beauty, to audacity – to joy. I quickly realised that all roads seemed
to lead to the work and world – of Mr. Christian Lacroix. So, after little
deliberation, I thought why not just phone him, why not phone Christian and
ask if he would be up for the challenge and enjoy working with me on a
collection. I was so happy when he immediately said: yes.”
Catwalkpictures
Balenciaga
The core codes of Demna Gvasalia’s Balenciaga were cemented ever since
he took the creative reigns of the Kering-owned fashion house. They haven’t
shifted much since. This season, however, saw movement in proportion and
offered a more elevated version of Gvasalia’s streetwear. That meant nuance
in oversizing but also architectural prowess as seen in the gowns shown
near the end of the show.
Held assembly-style in a painted blue auditorium of the United Nations, the
cast of characters on the catwalk were more believable, even if the
outerwear pieces were larger than life with model’s heads barely peeking
through.
Chanel
Speaking of sustainability, it is nul points for Chanel when it comes to
its elaborate show productions. Since the passing of Karl Lagerfeld, who
re-created everything from a beach replete with tonnes of sand to entire
cities, Chanel’s new creative director, Virginie Viard, has continued in
the same lane, opting for maximalist sets, this season building rooftops
reminiscent of 1960s Paris.
On show were the usual Chanel-isms from bouclé-everything to pearls to
Parissienne jackets and two-tone heels. The newness came in the form of
shorts and bermudas, a move toward a younger and cooler customer perhaps.
This was Viard’s first ready-to-wear collection after her haute couture
debut in July. While it was neither ground-breaking nor copy-paste
Lagerfeld, Ms Viard needs to find her footing and bring in her own codes. A
dash of excitement came during the finale, when a French comedian known as
Marie S’Infiltre infiltrated the lineup for the final loop.
Best @chanel finale video
ever: Spot the catwalk- crasher! And spot the security guys running after
her! #PFW
pic.twitter.com/Wztgsj3jVq—
Vanessa Friedman (@VVFriedman) October
1, 2019
Main photo courtesy of Dior
