Fashion is more than a simple concept; it is deeply rooted in a dynamic and all-encompassing world of artistry that embraces both local talents and iconic designers. While the latter group may often regard their creations as groundbreaking and speak of them as if they have a global impact on both our society and our individual mental well-being, we often take such statements with a grain of salt, without necessarily denying their cultural and societal relevance. Fashion undeniably remains an integral and unmistakable part of our daily lives and culture. At LifeBytes Magazine, we have the privilege of being able to regularly attend Paris Fashion Week, keeping us well-informed about the latest trends, upcoming designers and emerging brands. Here’s a closer look at the past three Paris Fashion Weeks!
Download the full Paris Fashion Week excerpt from LifeBytes Magazine #3 by clicking on the link above
The history of Paris Fashion Week dates back to the 19th century. During the Industrial Revolution, pioneering designers Paul Poiret and Charles Frederick Worth introduced the idea of using live models to showcase their creations, laying the groundwork for modern fashion shows. Within the space of just a few years, these initiatives quickly evolved from social gatherings to spectacular events.
In 1868, the Chambre Syndicale de la Couture was established, paving the way for the future Féderation de la Haute Couture et de la Mode, with the clear intention of highlighting the fashion industry even more and promoting it worldwide.
Contrary to the common belief that France has always led the way, it was actually the United States that played a pivotal role in the evolution of various Fashion Weeks. In 1943, American fashion and art journalist Eleanor Lambert launched the ‘Press Week’ in New York to provide a platform for local designers. This initiative was soon emulated in other fashion capitals, including Florence in 1958, Paris in 1973, and later London in 1984. Milan followed with its own fashion event, making these four cities the core of what we now know as the major international, interconnecting Fashion Weeks.
Another key period was the 1970s when leading haute couture houses like Cardin, Saint-Laurent, Ungaro, Givenchy, and Dior began organizing fashion events, cementing their reputation even more and drawing in ever larger crowds — both amongst the fashion afficionados and interested journalists. The following decade saw a renewed interest in fashion under the leadership of French President François Mitterrand — keen to raise his country’s status as the world’s fashion capital — and his minister of culture Jack Lang, bringing France back into the international spotlight.
This era was marked by a new wave of creativity, with more shows taking place in prestigious Parisian museums and closer collaborations with the avant-garde art scene.
Today, Paris Fashion Week is not only a platform for presenting new collections but also a celebration of fashion as an art form. The event is held at iconic locations such as the Rodin Museum, the Grand Palais, and the Louvre.
For those unfamiliar with the various Fashion Weeks, it might come as a surprise that Paris Fashion Week is divided into three categories, each having its own ‘week’ twice a year: one for the spring and summer collections and another for the autumn and winter collections.
The three categories are:
Men’s fashion in January and June
Women’s fashion in March and September
Haute Couture Week in January and July.
Today, Fashion Weeks are crucial for both emerging and established designers. They offer a platform to share their vision with the world, allowing us a unique glimpse into the rich history and ever-evolving landscape of the fashion industry as well as the creative directions the various brands are set to take during the upcoming months.
September 23 – October 3, 2023: Women’s Fashion Spring/Summer 2024
It was a delightful sight: the women’s fashion collections for spring and summer 2024 were remarkably eclectic, showcasing a blend of established names and emerging talents. In the former category, icons like Christian Dior, Louis Vuitton, Hermès, and Chanel stood out, alongside the return of Mugler and Carven. Among the newcomers, debutants such as Peter Do, Louise Trotter, and Christopher Esber impressed with their innovative designs.
Belgium was excellently represented by the rising star Marie Adam-Leenaerdt. Her avant-garde fashion, featuring rectangular ‘pool’ dresses adjustable with loops and belts, made an immediate impact. Even the accessories were infused with humor; a very promising debut.
The week also highlighted a notable absence of uniform trends, often a good omen for the creativity involved. It was refreshing to see designers like Maria Grazia Chiuri at Dior continually reinvent themselves.
Chiuri’s collection, featuring earthy tones alongside black and white, impressed with angular collars and nods to masculine forms that still retained a definite feminine touch. At Saint-Laurent, there was an abundance of stylish (and predominantly black) luxury, along with khaki hues, jumpsuits, and cargo pants.
Pierre Cardin proved for the second time that the brand lives on after its founder’s passing, while Chanel stood out with a collection inspired by the refined and informal architecture of Villa Noailles. In stark contrast, Valentino’s Pierpaolo Piccioli boldly opted for minimalist clothing and a considerable amount of skin exposure.
Sarah Burton marked her farewell at Alexander McQueen with a collection rich in historical and artistic influences. Some colleagues, perhaps with a bit of exaggeration, called it an ode to femininity. This was not entirely unwarranted: after 12 years working alongside McQueen himself and 13 years as the leading designer, Burton’s final show for the house, witnessed by celebrities like Jon Batiste, Elle Fanning, and Cate Blanchett, was a spectacle in almost every sense of the word, proving that entertainment and fashion can go hand in hand.
The collection featured asymmetrical slip dresses with the English Tudor rose, a molded black minidress with a bright red back, red threads over a coat, evocative shapes, and the most diverse models of the week, including the still impressive Naomi Campbell. There is much anticipation for what the feminist designer will do next. It’s unfortunate, perhaps, that her departure almost entirely overshadowed Gabriela Hearst’s exit from Chloé after barely three years. Hearst’s tenure at the label was characterized by relatively tame designs, culminating in many floral motifs. The criticism was, at times, too harsh, and her exit not illogical.
Victoria Beckham’s designs also drew significant attention with elegant jersey and sheer dresses, as did Nicky Zimmermann’s fresh, nature-inspired collection. Zimmermann skillfully played with a range of colors (from yellow and orange to white and beige), shapes, and movements, featuring many bare backs, midriffs, legs, shoulders, necks, and bellies, along with flowing lines.
Giorgio Armani’s collection showcased numerous references to Eastern garments — kimono-inspired pieces and harem pants — all alongside tailored dresses, glittering accents, and a clear preference for pastels. It was all very luxurious and quite different from Bottega Veneta’s nod to Tom Sawyer.
Sabato De Sarno’s minimalist approach and sleek clothing for Gucci starkly contrasted with Max Mara’s ‘garden girl’ look, which included triple-layer chiffon dresses, oversized coats, wide collars, and high-heeled sandals. Emilia Wickstead also drew on historical references from a few decades ago — not super original but fitting for a broader range of occasions.
Bold colors and floral motifs dominated at Ahluwalia and Carolina Herrera, while the Japanese deisgner Jun Takahashi managed to create a ghostly atmosphere with his ‘Deep Mist’ collection, full of vibrant colors and dramatic silhouettes. The seasonal presentations were further enhanced by grand settings, such as Balenciaga’s velvet theater and Louis Vuitton’s recycled structures. Lastly, the emotional show by Richard Quinn and the playful, versatile creations of JW Anderson, blending traditional and surprising elements, deserve a mention.
January 16-21, 2024: Male Fashion Fall/Winter 2024
During the men’s fashion shows for autumn 2024, held from January 16 to 21, both Balmain and Valentino made a triumphant return on January 20, after their absence since the pandemic in 2020.
Balmain’s Olivier Rousteing showcased a clear vision of global cultural fusion. His collection featured southern-inspired cuts and vibrant colors, reflecting our multicultural society. ‘This collection exudes luxury that is anything but understated,’ Rousteing told Hero afterward. His pieces paid homage to the African Sapeurs, known for their bright colors and structured silhouettes.
Valentino, under the artistic direction of Pierpaolo Piccioli, aimed to make us rethink male stereotypes with a collection that fused classic strong forms with feminine sensitivity and elegance. This was highlighted by a spectrum of vivid blue hues and innovative elements like long coats and turtlenecks.
Other highlights of the week were in abundant supply as well: the eclectic streetwear from Korean designer Wooyoungmi, featuring striking tweed coats; the functionally designed leather parkas and peacoats from Hermès; and the almost Roman-inspired tunic jackets from Loewe.
Paul Smith impressed with green and purple motorcycle jackets, while Rick Owens brought futuristic designs with inflatable shoes and luxurious materials like alpaca and cashmere to the catwalk.
Givenchy captivated with dramatic overcoats and feminine accessories such as loosely tied silk scarves and headbands. This continued the trend of referencing styles from the opposite gender, which has been prevalent for several years and still shows no signs of fading away anytime soon.
While there was less emphasis on truly gender-neutral clothing compared to recent years, another trend made a strong comeback: collaborations between different labels. Clothing brands partnering with shoe designers or accessory makers is a welcome direction with a strong growth potential we’re eager to follow up on.
Belgium’s own Dries Van Noten added a military twist to his collection, while BOTTER played with coach uniforms and asymmetrical Reeboks. Wales Bonner brought an athletic touch with satin baseball shirts and tailored clothing, and POUR HOMME presented distorted outfits with uneven seams.
Louis Vuitton introduced cowboy outfits with Native American accents, Mike Amiri drew inspiration from the glamour of 1990s Los Angeles with loose suits and satin blazers, repeatedly proving that men’s fashion in 2024 often is no less exciting than the trends we see in women’s outfits.
Homme Plissé Issey Miyake showcased colorful abstract creations that easily captured the imagination, Junya Watanabe combined patchwork tailoring with classic elements — often to great effect — and Kim Jones of Dior Men found inspiration in the performing arts and ballet dancers for his ensembles.
One thing is certain: men’s fashion is thriving, and these Fashion Weeks are increasingly supported by spectacular backdrops that add an extra dimension to the presentations. It is a welcome and exciting direction, much like seeing your favorite (metal?) band perform on an impressive stage stuffed with moving props and accentuated by fireworks. Amazing!
February 27 – March 7, 2024: Women’s Fashion Fall/Winter 2024
A multitude of styles with a pronounced focus on sustainable design were showcased between February 27 and March 7 this year in numerous women’s fashion collections for autumn and winter.
A prime example is Stella McCartney’s striking presentations featuring oversized fluffy coats and alpaca yarn, making a strong impression alongside Sacai’s hybrid, layered clothing.
Chanel paid homage to Norman fishermen with wide-brimmed hats and an abundance of accessories, all set against large screens displaying the Deauville coastline. Meanwhile, Nicolas Ghesquière at Louis Vuitton used a futuristic filmset to present neoprene coats, hoop skirts, and dresses with tree trunk prints. We weren’t there in person, but hopefully a visit to the therapist will help us get over the trauma of not being able to attend.
Miu Miu broke traditions by introducing masculine elements into women’s clothing. Although not entirely new, in this case, it was less about blending genders and more about – according to Mrs. Prada herself – a return to the carefree combinations of childhood, paired with more mature, ladylike black dresses and gloves. Very different from what we’ve seen from Miu Miu so far, and very successful!
Courrèges and Victoria Beckham experimented with split long sleeves, while Rick Owens and his peers stood out with abstract shapes. Speaking of unique features, we must mention not only contours but also textures. Examples include the fluffy, loose garments from Underground, Dries Van Noten, and Caroline Hu; the leather pants from Chloé; the leather and suede jackets from Isabel Marant; and the ‘naked’ aesthetic of skirts and dresses seen at Casablanca, Cecilie Bahnsen, and Marine Serre.
Also notable was the use of cherry red hues at Hermès, where the stunning colors were highlighted by studio rain during a remarkably impressive show. More of that, please!
Japanese designers like Junya Watanabe and Comme des Garçons showcased futuristic silhouettes and angular shoes; Schiaparelli and Noir captivated with dazzling dresses and cosmic designs, respectively; Carven played with out-of-context outfits; and Balenciaga dazzled with multilayered ensembles adorned with prominent logos.
Acne Studios excelled with sleek black leather and denim dresses, but the most talked-about show was undoubtedly Saint Laurent’s secret menswear presentation by Anthony Vaccarello, who made a spectacular return to the broad suits of the 1980s, a style that would still look right at home in the iconic TV series Miami Vice, even in 2024.
Saying there was ‘something for everyone’ would be kind of stale, but we guess we just kind of did say it. So there.
Beyond the Spotlights
Alongside the fashion shows, a plethora of events and exhibitions offered rich experiences during the recent Paris Fashion Weeks.
Sphere, consistently organized by the Fédération de la Haute Couture et de la Mode, served as a meeting ground for emerging designers. With a permanent showroom in the iconic Palais de Tokyo and a fine array of shows, it is steadily becoming the ‘place to be’ for young and/or novice designers and fashion houses like Valette Studio (for SS24), Florentina Leitner, Benjamin Benmoyal, Lucille Thièvre, Maitpierre, and Rolf Ekroth. The collaboration with partners DEFI and L’Oréal Paris seems to be thriving, suggesting a promising future for Sphere.
We could have mentioned it in our title for the women’s spring and summer 2024 collections, but SS24 HKFG (formerly Fashion Guerilla) was outstanding! The shows, held in a multi-story parking garage, proved to be the ideal location for the collections of Hong Kong talents like Celine Kwan, Le Mandorle, Pabebabe, Reverie by Caroline Hú, Yat Pat, and Yeung Chin.
Designer Celine Kwan celebrated the special bond between women and their dogs with her ‘Bitch Stole My Look’ collection. Her clothes featured spaces for dog waste bags and puppy carriers, which was cool enough, but the models walked on a cloud-like setup, and a few real dogs joined in, making the scene even more cheerful and fun – despite the models’ stoic expressions. The collaboration with ‘Battersea Dogs and Cats’, a charity helping animals in need, added a lovely touch.
Also new: Yeung Chin introduced vibrant colors, a departure from her usual focus on black, grey, and white – a choice inspired by Chinese herbal medicine.
Reverie by Caroline Hú’s almost post-apocalyptic, Mad Max-like presentation was even more remarkable. Some found it dreamy and romantic, others wild and passionate, featuring partially transparent clothing adorned with colorful prints. The show felt like an installation or a solemn procession and will remain memorable to its audience for years to come, we would imagine.
Other initiatives included the FASHION[X] Showroom, organized by the Swedish Fashion Council and Fashion East. This fantastic project allowed Swedish designers like Róisín Pierce and Caroline Hu to make a well-deserved debut.
And then there’s Tranoï, a major fashion fair and Paris Fashion Week partner. Its showrooms are always a feast for the eyes, showcasing international talent from numerous countries – like Serbia and Portugal – across various floors and events. It would be easy to spend hours exploring the various collections without getting the sense of going beyond scratching the surface. Take our word for it, we’ve spent quite a lot of time there.
Significant events included the unveiling of Charlie Le Mindu’s artwork Tricophilia at Samaritaine Paris Pont-Neuf and the book signing session for Paradise Now: The Extraordinary Life of Karl Lagerfeld organized by Librairie 7LHouse.
The influence of international designers was prominent, with exhibitions like ‘Les talents créatifs d’Indonésie’ and ‘KFashion82’, highlighting Indonesian and Korean fashion, respectively.
Première Classe has been offering a fantastic array of accessories for about 35 years, featuring around 350 to 450 different brands and vendors at each recent edition. Its large tents attract journalists, stylists, schools, trend bureaus, and representatives from all over the world, many of them very willing to spend some money there. Among the standout designers was avant-garde Joshua Cannone, whose fierce leather clothing evokes both human and animal qualities – primitive yet refined. Equally impressive was the collection of hats and scarves from Prinz Berlin, paired stylishly with women’s suits, often with jackets or vests.
The showcase included beautiful jewelry made from raw gold, stylish handbags, cool glasses, alpaca wool clothing, and more, targeting a more affluent audience and providing plenty to admire. You could easily spend an entire day exploring the may different booths here. With all categories clearly displayed in the brochure, it was easy to get an idea of what Première Classe has to offer: prêt-à-porter, accessories, international fashion collectives (from a broad selection of African countries, regular partner Peru, and South Korea), and showrooms.
Kundo Jewels Paris (normally with accents on the ‘u’ and ‘o’), an initiative by designer Roy Krejberg, made a huge impression: stunning, bold jewelry with lots of character, inspired by African tribal art and Asian and Indian subcultures. The pieces mainly use silver and both rough and polished diamonds, blending primal force with modern design sensibilities. We loved it.
Going back to Tranoï, which during successive Paris Fashion Weeks, always emerges as one of our favorite destinations, there was far more on display than its well-attended parties might hint at.
Tranoï emphasizes supporting and promoting new talent and innovative designs. With such a vast selection, everyone will likely easily find their own favorites, but the strong international partnerships ensure a very eclectic and — most importantly — exotic mix.
Whether focusing on men’s or women’s fashion, there’s always something to discover.
A few quirky examples: the timeless Italian elegance of Maurizio Miri, the unisex ear jewelry from YParis (wearable without piercings) and the organic shapes of jewelry from Belgium’s Harpie Collection.
The stunning and incredibly cool ceramic jewelry from Japan’s Hizen, the tastefully designed black and white clothing from Daily Mirror, and the successful marriage of sustainability and technology from Hannah Shin were all definite eyecatchers.
Other impressive showcases included the visionary contours from Arts de Base, shoes and accessories from Cornelio Borda, the varied knitwear from Peru’s Kero Design, cozy alpaca wool sweaters from KUNA, and sustainable jewelry from Adele Dejak.
Other highlights?
The ethical afro-luxury from Boyedoe, stunning outfits from David Tlale, Portuguese modern leftovers clothing with African references from Judy Sanderson, and ethnic wrap clothing from the Caribbean’s The Cloth. Superb!
Lastly, beyond the official Paris Fashion Week, there’s the Paris City Fashion Week — a much smaller initiative that spans only a few days but still hosts interesting names from the prestigious Westin. Less known and perhaps less promoted, it’s still an intriguing initiative with great growth potential. Expect more about this soon!
Dirk Vandereyken
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