10:30: At the Grand Palais, Chanel calls Riviera from head to toe
During Paris Fashion Week, Chanel returned to the temporary Grand Palais and street photographers criss-crossed the neighborhood with dozens of telephoto lenses slung over their shoulders. A menacing sky, the first heavy rain and something about autumn is revealing itself over the Military Academy this Tuesday. Inside the building, guests are greeted by a series of large black boxes surrounded by a giant collage of exotic flowers against a backdrop of panoramic photographs of southern France. Inspiration? Cubist garden of Villa NoaillesBuilt in Hyères in the early 1920s by the American architect Mallet Stevens for the couple Charles and Marie-Laure de Noailles, it has also become a center of young contemporary fashion creation since the Festival that bears its name has been held there. From Chanel.
As with every fashion show at the Rue Cambon house, the show takes place in the room, and we rarely see such an enthusiastic audience wearing the full look and accessories, with a (huge) smile on their lips. Even boys like Chris Rock and Usher wear tweed or sequin jackets; Paris Hilton opts for a reinterpretation of the (fake?) neon pink fur-trimmed suit. The cabin is delightful and the collection is carried with a nonchalant breath, like memories of holidays on the Côte d’Azur, where Gabrielle Chanel had her own La Pausa villa.
The look plays with sometimes exaggerated navy blue stripes, florals in all formats—including this dahlia surrounded by the CC logo—graphic prints, a little doll dress version, and full-length outfits for day and evening, or even afternoon or evening. on the cloaks of their little riding helmets, which were nothing but red. Solar panels, multicolored tweed bathrobes and neoprene suits add Cambon’s signature sophistication. Lace dresses and low-waisted trousers are worn with flip-flops and very low-heeled shoes. At Chanel, the approach is slow, not hasty, the gaze sometimes hidden behind sunglasses with gold chains. Later, when the sun is about to fall into the sea, Virginie Viard imagines black, sheer dresses like curtains of smoke that magically envelop the body, worn with high baby blue boots to break stereotypes. Imperial, Gigi Hadid appears in a completely sequined ink black outfit, with graphic jewels around her neck and her hand in patch pockets: an epitome of Chanel style, which, beyond clothing, is above all a matter of speed, appearance and freedom.
14:00: Miu Miu at Troye Shivan, intellectual chic and swimsuits
The Miu Miu fashion show is a bit like the opposite of the Chanel show. It’s great weather outside, lightning and thunder at the Palace of the Economic and Social Council, which is hosting the Italian fashion house’s fashion show. In reality, it’s an installation designed by artist Sophia Al-Mara around athlete Ayesha Hussain, projected onto giant screens, where most of the guests are wearing tights and panties – the famous no-pants trend that Miu Miu started – but still in an oversized leather jacket, like padded armour. Korean Jang Won-young of the group IVE sets the crowd loose in a slightly more subdued suit, but The number of exposed legs is still incalculable In this concrete bunker that is as stylish as it is flashy. Alix Earle wears a miniskirt, Camille Razat and Anna de la Russo wear purple and mauve pantyhose, twins Ami and Aya Suzuki also drop their pants, and the Hilton sisters successfully portray sexy schoolgirls.
Sexy? That’s not the word that really sticks with Miu Miu, with its weird universe where bare legs are encouraged, but only if you wear a cardigan with small buttons or a top with a Peter Pan collar. A whimsical elegance that perfectly embodies The Miu Miu girl of the season is Wednesday’s sort of Milanese cousin, appearing on the catwalk as if she’d just stepped out of the university library., wearing glasses on the tip of his nose, wearing a large coat but in a swimsuit with a drawstring belt, sometimes wearing ultra-low-waisted trousers with a brightly colored banded belt. A tall intellectual with wet hair (did she run or swim?), she combines swimming shorts and a carnation-looking miniskirt with a boy’s blazer, wears her trousers and skirt below her hips, and carries a bag on her back. Clothes and shoes were overflowing. Here’s the second part of the parade adorned with a gold-plated robeHowever, the cut is more reminiscent of a blouse worn over a shirt and a petite bourgeois braid. The Miu Miu girl flies above all contradictions, there is nothing in sight. He’s also a boy, as evidenced by the passing of several boys and the surprise appearance on Insta of Australian influencer Troye Sivan, who has 15 million subscribers and has helped raise his profile worldwide, by Miu Miu, both feminine and masculine.
15:30: A fashion discovery at Torishéju, Shangri-La.
Naomi Campbell isn’t opening any exhibitions, so when we’re told Nigerian-British-Brazilian designer Torishéju will probably be showing up, we tell ourselves it’s worth it. The parade, held in one of the gilded halls of the western Parisian palace and actually initiated by Naomi, attracts attention with its richness, imagination and the subtext we imagine behind each passage. With her reinvented volumes, deconstruction works on clothing, curved shapes, inversions (lining on the front) and other hybridizations (jacket turning into a skirt), the young designer also assimilates her own history and culture in these collections. Details that evoke the elegance of clothing lappa and dresses yoruba.
18:00: Simon Porte Jacquemus signs the photo book entrusted to Martin Parr
Simon Porte Jacquemus doesn’t do things like the others and that’s why he doesn’t show at Paris Fashion Week. But the creator is still there, and even the award he received thanks to the publication of a beautiful photo book is in third place today. His last fashion show, held in the gardens of the Château de Versailles and touring the world by boat on the Grand Canal in the front row, was the iconoclastic British photographer Martin Parr, known for his perspective at the intersection of humor and human sociology. He wanted to immortalize the event. Name of the show? Beloved. In the book? Frankly it’s the same.
Conclusion? A beautiful lipstick-coloured work in which you can find not only the silhouettes of the show, but also all the little details that make up Martin Parr’s “paw”: the gaze of the audience, ice cream with whipped cream, a bow placed in the hair. . Soft and poetic like the creator’s, the placement of the giant book in the royal garden is announced with an acclaimed video.
