Amidst an overall sombre mood casting a shadow over the Paris collections, it’s refreshing to know that some designers embraced brighter muses: Loewe interpreted Albert York’s idyllic landscapes and floral still lifes, Giambattista Valli paid homage to Lee Radziwill, Hermès opted for motorsport chic, Saab drew inspiration from Priscilla Presley, and Sean McGirr at Alexander McQueen revisited the raw essence of his predecessor’s initial creations.
Friday March 1st
LOEWE
Jonathan Anderson’s Loewe AW24 show was a creative homage to craftsmanship, set against the backdrop of Albert York’s art. Beaded floral bags brought a touch of artistry, while wool coats with wooden lapels fused traditional tailoring with unexpected textures. The standout bell-shaped dresses demonstrated Anderson’s talent for merging avant-garde designs with meticulous detail. Reflecting on the collection, Anderson shared, “I started exploring this idea of provenance and why we buy things and why things come to have meaning. The idea of an outsider looking into a world that we don’t experience,” adding a layer of philosophical depth to the show’s narrative.
Giambattista Valli
Giambattista Valli’s latest collection pays homage to Lee Radziwill, a muse for Valli’s exploration of timeless beauty. Valli admired Radziwill’s cultural and aesthetic discernment, which is reflected in the collection’s blend of classic and whimsical elements. From slender silhouettes to eccentric flou, the range features elongated coats, A-line shifts, chiffon dresses with Shalimar florals, rose-embroidered trench coats, and paisley-adorned pinafores. The color scheme of ivory, black, and “Lee’s pink” underscores Valli’s refined palette. This collection, balancing precision and playfulness, would undoubtedly have earned Radziwill’s endorsement.
Saturday March 2nd
Hermès
For autumn winter 2024, Creative Director Nadège Vanhee delved into the dynamic world of riding sports for Hermès beyond its traditional equestrian heritage. More specifically, she was interesred in the contrasting realms of motorbikes and bicycles. Vanhee, who personally leans towards the safety of the latter, found joy in navigating the thematic parallels between these two modes of transport. The collection could be described as a liberating exploration, despite the snug fit of the leather ensembles, suggesting a more body-conscious approach.
Central to her design narrative are the pointed cowboy boots, seamlessly matched with cropped and flared leather trousers that encapsulate a refined yet adventurous spirit. Complementing this, she introduces flat, knee-high motorcycle boots, featuring side zippers, which she pairs with an array of skirts and dresses, infusing a sense of bold femininity into the collection. These pieces, while potentially commanding a premium price point comparable to a motorcycle or a luxury bicycle, stand out for their timeless design and exceptional craftsmanship, positioning them as worthy investments in one’s wardrobe.
Elie Saab
Elie Saab’s “Memories of Graceland” collection was inspired by Priscilla Presley’s iconic ’70s style. The Lebanese designer infused his glamorous flair into all-Amerian country aesthetics with rock ‘n’ roll edge. The lineup kicked off with fringe-adorned Western-style jackets and high-heeled cowboy boots, transitioning to gowns with striking lightning-bolt motifs. Saab’s daywear features structured, dark denim with his signature moon monogram, alongside denim-on-denim ensembles and wide-legged jumpsuits. The collection also ventures into sheer, floral-embroidered blouses and edgy, studded dresses. The range is rounded off with red carpet-ready pieces and outerwear embellished with oversized rose appliqués, ensuring a dramatic finish.
Alexander McQueen
Sean McGirr’s inaugural showcase at McQueen stirred the fashion world, coming on the heels of Sara Burton’s notable 13-year leadership (accumulating to 26 years at the firm). The collection was introduced with notes that spoke of “rough opulence” and a deep dive into the primal, featuring elongated silhouettes and textures that seemed to enwrap the body in a knitted sanctuary.
Drawing inspiration from McQueen’s iconic SS 1995 “The Birds” show (staged in London in 1994), McGirr aimed to capture the essence of unique, strong-willed individuals one might encounter on the gritty streets of East End, wrapped in an aura of “tattered opulence.” While his efforts to channel McQueen’s mastery of dark, extravagant themes were evident, the execution resulted in a somewhat overcrowded presentation, lacking the clarity and cohesion of McQueen’s original vision.
The transition from Burton’s polished refinement back to the raw edges of McQueen’s early work posed a challenge, particularly in the outerwear, which seemed to echo rather than innovate upon McQueen’s distinct legacy. Among the most interesting elements were a cling film dress, directly nodding to McQueen’s SS 1995 collection, and a dress with a “shattered mirror” effect, both intriguing yet underexplored.
The collection’s more avant-garde pieces, like the “donkey feet” shoes, might carve out their own niche for their sheer audacity. However, the collection as a whole would have benefited from a more focused thematic exploration, leveraging the depth of McQueen’s rich narrative.
Stepping into the colossal roles left by Burton and McQueen, McGirr shared his perspective on carrying forward McQueen’s legacy, emphasizing the timeliness and relevance of McQueen’s message in today’s overly polite society. His debut, while mixed, signals a bold readiness to engage with the profound legacy of McQueen, promising an intriguing path ahead for the storied brand.
