Document highlights some of our favorite collections from Paris Fashion Week S/S 2016, including Miu Miu, Louis Vuitton, Dior, Comme des Garçons , Loewe, Vetements, Yohji Yamamoto, Céline, Maison Margeila, Rick Owens, and Jacquemus. Scroll through the gallery above.
Miu Miu’s latest collection was meant to be a host of contradictions. Leave it to Miuccia Prada to make sense of it all and purposely have the crowd scratching their hands, and giving a sounding applause at the same time. As in Milan, the collection traveled through a few different decades: from the 50s pencil skirts and shrunken knits, 70s overcoat and glam-rock boots, to an 80s new wave touch, there was much to love in this collection. There was also a disturbingly pleasant kinky undertone with flouncy sheer maiden-like dresses, tulle skirts, and stiletto’s with ribbon tying around the ankle.
Ghesquiere has always had an obssession with futuristic shapes, ideas, and concepts, perhaps a code for always looking forward to the future. Acknowledging the fact that we are in a digital age, in his latest collection we explore the many different Vuitton vitural heroines. The opening look set the tone as a pink haired model stormed out in a chained flatform sandal, a killer pink motorcycle jacket, and a knuckle brace made of Vuitton worthy leather, ready to conquer whatever quest she embarks on.
When thinking of the spring summer season, traits such as light, fresh, airy come to mind, and that is exactly what was presented during Dior’s latest S/S 2016 show. At no point in the show did anything feel heavy, where even the embellished jackets had a soft, serene touch to them. Just because it was a softly mute collection does not mean there was a simple approach to the clothing. The lightweight fabrics were as precious as ever and there was amazing pleating work done on a lot of the jackets, not to mention the hand embellishing to a few outerwear pieces. There was definitely a feminine victorian feel with the high collars and neck accessories, not to mention the incredible pointed toe shoes, with a chunky square block heel.
Comme des Garçons
A spell-binding collection, which is perfectly fitting for the theme of “the Blue Witch” which was referenced when discussing the latest collection. What people have come to know and love about the Comme des Garçons brand is Kawakubo’s dedication to fashion as art in it’s highest form, often disregarding any appeal to being “wearable”, however to the right fashion enthusiast it is just the marriage of art and fashion that they are in search of. The sculptural and seemingly perplexing construction of the looks will often find themselves in the homes of museums or art collectiors, possibly never to be worn, but eternally admired.
What makes talents like Jonathan Anderson such a success is his ability to maintain the heritage of an old Spanish house such as Loewe but bring the quirkiness statement making talent of today and have them work in tandem. Beyond the traditional leather and impeccable suede pieces, he introduced several other textures and textiles, as shown in his London name-sake collection. Highlights from this was shattered mirror pieces, metallic fringe accents, use of plastic for pants brilliantly paired to show the strength of his commercial offerings, and the leather embossed trousers.
With the construction and draping on the all black spring summer collection paired with boots, and choppy mismatch hair, we are taken on an emotional, punk-esque journey this collection. The presentation of the off the shoulder and loosely undone draping dresses and tops paired with loose bottoms were a hit, as the disheveled presentation was intentional, just as the deconstruction of the more rigid pieces such as the bustier tops, and circle skirts that were beautifully demolished to give a dialogue to the clothing, as Yamamoto never designs without a purpose or deeper connection with his clothing.
Arguably the most talked about newcomers on the scene, the duo behind Vetements have a real hit on there hands. So strong, that to many it was no surprise when Demna Gvasalia was tapped as the new creative director for famous French house, Balenciaga. It will be an exciting moment to see his point of view taken and applied to the french house while having access to it’s atelier and archive. The source of obsession with Vetements is the fusion of the gritty, underground with a classic, refined, unimagined touch. It’s not that the clothing pieces was anything new, it was just a fresh take on common pieces and materials constructed in such a way that drew the eye to look at their use differently. From the oversized tailored jackets, to the floral dresses made from some sort of synthetic cloth, to reconstructed workwear, everyone saw a piece that they loved, that they never quite imagined in that way.
The way a woman travels, was the thought behind Philo’s latest collection from the de-robed slip dress to the dressed presentation of jackets, trousers and coats done in the most beautiful fabrics. It was key pieces and the empowerment of femininity that struck a high cord with this latest collection; the collection felt more grounded and less conceptual than usual, but again the hand at the clothing was not nullified to create more of a paired down thought process. Key pieces in this collection were the corseted blouses, and ribbed waist jackets and coats embodying and celebrating being a woman.
Leave it to Galliano to bring in a boom of loud eccentricity to the Margiela house in his latest collection. Starting out with a 50s up-do, and an 80s rock-centric eye, he played up both ultra feminine and more masculine silhouettes with a nod to Geisha culture. Highlights from this collection ranged from embellished pencil skirts, and 60s style flared collared jackets, to the more clean well tailored pant suits, ending with a slew of geisha inspired gowns and two piece separates. A whirl wind of a mash up, but that is what Galliano does best.
Another emotionally moving show, Rick Owens choose to focus on female empowerment, through the literal and emotional state of a woman’s strength. The show begins with single models walking out in flat boots, and masculine jackets and vest over more delicate soft dresses, or female underpinnings. As the collection evolved, models began to walk the runways carrying other female subjects, and this is where the cord hit with the audience. We were then looking at these women as warriors and with not only physical, but mental strength, and audacity. Clothing wise, the soft draped dresses shown early on in the collection, took a stiff more constructed spin by the end, some layered with casual anorak coats, vests, and soft bomber style jackets. The softness and fluid drape of the pieces still alluded and celebrated a women’s softness and feminine spirt.
There is a certain whimsicality that Jacquemus carries when designing his collections, and though there was still a trace of it in his latest collection, one couldn’t help but feel a different, sort of somber, contemplative undertone. The clothes felt more grown up, and serious, as he worked with the deconstruction and mix matching of classic tailoring such as pinstripe suiting, and white dress shirts with injections of red taking on a more serious narrative being this time around. Aside from the clothing, Jacquemus put on a compelling poetic theatrical performance rare for such a young designer to convey an emotional message. It was a “mise en scene” of a dream of his little cousin Jean (who also appeared in the show) full of social and psychological allegories.