Paris Fashion Week: A Rainy Day's Designs Ignite the Runway
A day marked by a dirty, teeming rain in Paris nevertheless unfolded with four unforgettable collections, showcased by five non-French designers. The day saw the highly anticipated debut of American duo Lazaro Hernandez and Jack McCollough at Loewe, Harris Reed's presentation for Nina Ricci, Sarah Burton's vision for Givenchy, and a confident showing from Victoria Beckham.
The debut from American designers Lazaro Hernandez and Jack McCollough for Loewe was a resounding success, presenting a tight and cohesive modernist statement. This was a particularly challenging inaugural collection, as they stepped into the shoes of Jonathan Anderson, who had elevated Loewe to Paris's most coveted show before his move to Dior. Yet, Jack and Lazaro proved more than capable, delivering a polished collection rich in primary colors, inspired by Ellsworth Kelly’s 1989 painting "Yellow Panel with Red Curve," which greeted guests in canary yellow and crimson at the show's entrance.
Before their tenure at Loewe, Jack and Lazaro had helmed Proenza Schouler in New York for two decades, and their Loewe collection distinctly merged Manhattan’s edge with Madrid’s heritage. A core element was the experimental manipulation of leather, a fundamental DNA of the Spanish label. This manifested in ragged suede crafted into innovative jeans, tops, and jerkins, alongside stiff, dramatic chess-piece-style jackets and blazers in hyper-iron rawhide, rendered in dazzling primary hues like cobalt blue, brilliant orange, and forest green. The brand's logo, in both curly and block scripts, provided intricate detailing. The leather itself was fashioned in multiple layers, resembling pliable plywood or "a layered cake," as Jack humorously described backstage. Silhouettes reminiscent of Proenza Schouler's signature aesthetic appeared in super flowing dresses and asymmetrical gowns made from this leaf-like leather. They also introduced an innovative suede that mimicked toweling fabric, cut into appealing wrap-around mini dresses, and brought smiles with leather bags sculpted to resemble bunches of cockles.
"I think right now there is so much sadness in the world, that we need color, light, optimism and positivity,” Lazaro commented to a cluster of editors amidst champagne service. For their Loewe debut, the duo transformed a vast tent within Cité Université into an all-white show space. Guests were seated on angled ceramic tile benches beneath a ceiling sliced with slanted factory-style windows. The models, upholding the house’s reputation for a fresh cabine, strode energetically, embodying New York career women rather than stereotypical pampered Parisians. The atmosphere was amplified by an energetic soundtrack from DJ Frédéric Sanchez, blending "Dame Eso" by John Heaven and "Black Naga" by Pachanga Boys, culminating in a prolonged standing ovation for the designers.
In the evolving landscape of Parisian fashion, Harris Reed appears to be on a steep upward trajectory, as evidenced by his latest collection for Nina Ricci. Staged within the hallowed halls of France's most prestigious university, La Sorbonne, the collection was a full-fledged exploration of "Rock Olympia," featuring goddesses, groovy grand dames, and a hint of well-heeled groupies, all smartly juxtaposed against the university's cut-stone, grand marble, and gilded ironwork. Reed demonstrated a clear mastery of the Paris atelier, asserting his vision with confidence. The show opened with a striking black silk jacquard spinning top look, featuring a deep-cut blouse and diaphanous dress, a theme of baring skin that continued with practically every blouse open to the navel. Reed envisioned Ricci women for next spring turning heads in bronze satin pantsuits or a series of mannish sequinned jackets in shades of burnt coffee or cobalt blue. Skirts were flippy and knee-length, adorned with lace inserts, consistently grounded by substantial python boots with brass heels.
For evening wear, Reed leaned into sequin or velvet dressing gowns, worn open over semi-sheer chiffon polkadot cocktails or pants. While the collection garnered a decent burst of applause from an audience notably populated by influencers, some wished for more of his tougher tailoring, like a superb frack finished with frogging. Reed's range, though arguably narrow, is executed with precision and impact. Critically, after a debut that felt like a fashion pastiche, this collection exuded an abundance of seductive chic, signaling a significant learning curve and refinement in his approach.
A new, refined sense of seduction is pervading contemporary fashion, and for those seeking a darker, more diabolical aesthetic next spring, Givenchy offers a compelling choice. Creative director Sarah Burton ignited the runway with an array of tough, chic black leather pieces, from batwing leotards and classic little black dresses to daring gents' coat dresses with deep décolletage. The collection transitioned into powerful rock goddess moments, epitomized by a dynamic black rawhide flight jacket with double-zip trim. A memorable moment saw the truly voluptuous Emeline Hoarau stride past in a black pocketed leather skirt and push-up bra, eliciting audible "whoarrrrs" from the audience and noticeably raising the temperature – a clear runway-star-is-born moment that resonated deeply. Burton articulated her vision in the program notes: "Peeling back the structure of tailoring to reveal skin and a sense of lightness and ease – and then exploring the female vocabulary of dress and undress.”
Burton’s tailoring remained impeccably crisp and clean, showcased in statuesque white fine wool double-breasted pantsuits and flawless slimline corporate suits. She ingeniously reinterpreted Givenchy’s most iconic item, the Bettina blouse, through various shirting designs, including a snappy officer’s version with pockets and exaggerated shoulders worn by Eva Herzigová, and a wonderfully sculpted oversized aristo shirt donned by an Asian beauty. As with her assured debut in March, the show was rich with exceptional accessories and costume jewelry, featuring broken star or oversized pearl necklaces, graphic oblong earrings, and studded bracelets. Her footwear, however, was somewhat erratic; impressive leather pumps covered in leather petals were offset by the confusing overuse of patent leather mops as shoes. At times, Burton's efforts seemed to strain, particularly with half a dozen pleated chiffon and fishnet creations that exposed underwear and the models' figures, along with an incomprehensible "cavewoman" bra and skirt combo that some models visibly disliked. Despite these minor inconsistencies, the performance was delivered with immense gusto, staged in a pristine white circular room before Napoleon's tomb, offering a stark contrast to the harsh gray rain that greeted guests upon their departure.
Victoria Beckham is currently enjoying a remarkable run, with her three-part documentary set to debut on Netflix next Thursday. On Friday, she unveiled a slinky, sexy, and sophisticated collection within the sacred cloisters of Val-de-Grâce, skillfully blending the sacred with the profane and demonstrating her continued evolution as a designer. The collection's core revolved around exquisitely feminine dresses, particularly a compelling mid-section of slip dresses. These were cleverly constructed with hidden inner rims, trimmed with delicate lace, or gathered with crochet strips, imparting a novel asymmetry and a subtly sensual swing to the garments. "I think having a teenage daughter, I am attracted to a certain naivety and I think we see that throughout this collection," Beckham shared.
As rain poured outside, DJ Michel Gaubert energized the mood by commencing the show with the iconic theme music from "Knight Rider," which seemed to galvanize the cast into a confident, powerful strut. Victoria also elevated her technical prowess, presenting a trio of sculpted tops adorned with hand-sprayed rooster feathers. Her tailoring remained impeccable, featuring overlong trousers and mannish double-breasted jackets, thoughtfully paired with T-shirts. "I live in T-shirts myself and am always looking for the perfect hot vest. Which is why we should them with suits,” Victoria explained in a post-show backstage chat, shortly before her husband David politely interrupted with a "Darling," passing her a glass of red wine, as they celebrated their success. Once the target of mocking UK tabloid headlines during her brand's challenging growth pains, Beckham can now enjoy a moment of well-deserved triumph. Her house has achieved double-digit growth over the past decade, guided by savvy French luxury management partners, comfortably surpassing annual sales of £100 million.
The upcoming Netflix series is expected to significantly boost revenues, particularly for Victoria’s beauty business, which the house intelligently developed in-house without external licensing. "Making the documentary has made me really think about who I am as a designer. To question what we want to do and continually stretch ourselves as a team. And that is probably a very good thing,” she concluded, reflecting on her journey.
