And voila, the grand finale! Yes, after two dizzying stops in the other two fashion capitals of Europe – London and Milan – we are now in the final section, with five full days of the finest men’s fashion that Paris can offer. As usual, we will cover the longest of the three June fashion weeks in the form of gatherings, with fresh updates on the latest happenings that will be published here every day. You want to know about Glenn Martin’s last perverted outing Y / Project? As i Junyathe long-awaited return to the Paris schedule? Or what Louis VuittonWhat did his first full collection designed after the death of Virgil Abloh look like? Well, here’s where you’ll find out!
Images courtesy of gorunway.com
From take home ANDAM Prize last year, Bianca Saunders is a designer whose star is firmly on the rise. This was confirmed when you saw the eager audience that came en masse to the start of the daily fashion show of the London-based designer – her second in Paris. For growing up early, they were honored with ‘Hard Food’, a collection named after the starchy additives of a typical Jamaican meal – dumplings, jam and plantain. While there is an obvious hint of Bianca’s own Jamaican heritage – a summary of her brand – a rather esoteric title for the fashion collection can be admitted at first reading. However, this was a sign of the implicit contradiction he embodied – namely that when hard food is prepared, it is actually quite soft.
A similar sense of contrast affected the clothing. The firmness of strong denim jackets with Bianca’s distinctive block draped shoulders and huge leather bombers with a low front was complemented by louche twins of flowing satin – dolcevina and trousers sparkled brightly at every turn, and a sunflower shirt shone at every turn. with subtly falling curtains on the chest. This duality even included individual pieces, with structured coats that rotated to reveal trembling draped backs, and cargo-shaped canvas pants with a domed, gathered back made of cotton poplin.
Elsewhere, Bianca has expanded the visual range of her universe with cleverly manipulated prints and new finishes – the look of silver foil leather adds a touch of glamor to the combination, while lurex knit twins with cut and re-fastened collars glow subtly as they move. almost like television statics. The mesh prints were distorted, mimicking the protrusions of the body below, and this season’s signature graphic was actually a hand-collaged distortion of a hard food recipe, bringing a figurative interpretation of her collection’s starting point in full circle. For her most comprehensive and ambitious collection to date, Bianca has proven just why people keep coming back and waiting in lines for what she serves. MRS
Images courtesy of John Alexander Skelton
John Alexander Skelton
John Alexander Skelton is magnificently inconsistent with much of the fashion industry and its restrictive commercial systems. He stands above the imposed novelty of seasonal trends and the superficiality of merchandising. John’s work is instead accessible and human, slower and smaller and thoughtful, aesthetically looking like very little else is being created in London. It exists in a parallel world, in one where the industrial revolution was not entirely successful, while leaning towards the earthly Victorians. He delves into the material history of clothing and the beauty of fabrics and narratives that contain different silhouettes.
His SS23 collection was a narrative continuation of his work last season, specifically the character of Benjamin Pollock, the owner of a Victorian toy store. “I’ve found that there is a joy in projecting on a little-known character,” John explained, “and a freedom that allows the mind to wonder.” So John began to think about Benjamin’s summer wardrobe, and thus his hobbies and interests. , his life and life in general in Victorian London.
Research is central to much of Skelton’s fashion practice, whether historical or the material itself. Here he looked to the Docklands – the heart of London’s difficult, industrial past – and the lives that existed on their fringes. “There is a sense that this area possessed a certain exoticism mixed with hard work and various crafts that benefited from its proximity to the river, such as the tanneries that once existed in Bermondsey,” he explained.
But the ruins of the past as they exist today are part of the collection, John’s clothes find sympathy between the two eras and reach for timelessness. Here, too, there is lightness in clothing; soft bedding, playful prefunctionality of these shirts and jackets with multiple buttons, the comfort of old sandals, the decorative appeal of embroidery and print. John envisioned Benjamin Pollock as Mudlark, searching along the banks of the Thames where the lookbook was filmed, and found his connection to the past through this bricolage. “There is a certain magic and miracle that comes with the fact that these fragments of objects, which were once the property of our ancestors, are simply among the mud and gravel on the shore that anyone can find,” John explained.
But it doesn’t make sense to stand outside the system if you don’t offer something it doesn’t offer; and that’s exactly what John does. His clothes exude a rare sense of humanity, and that’s what makes her so desirable. FP
Images courtesy of gorunway.com
The Palais de Tokyo, the first day of Parisian fashion shows, always hosts one of the busiest young publishers at the moment, EGONlab. On a sharp upward trajectory since winning the Pierre Bergé Prize at the ANDAM Prize last year, the label – led by the duo of Florentin Glémarec and Kévin Nompeix – has earned a reputation for flawlessly chic tailored silhouettes interspersed with high drama and club spirit. ready sexuality. This season combined all these things with aplomb, in a collection that dealt with a valuable topic Alice in Wonderland. However, apart from a handful of cartoon drawings of bunnies, the tripic children’s story seemed to translate more into a general sense of escape that permeated the clothes. The sleekness of the long cream wool coat and coated lace polo collar contrasted with the libidinal flair of tiny short shorts and high black leather boots, and the tight vests were interspersed with palettes. The wide-legged jeans, styled with lavish, raw hemmed miniskirts over the top, were angrily upset, while the pajama-shaped shirts and pants were made of trouser fabrics. MRS
Images courtesy of gorunway.com
If you want to leave a big first impression for your first exhibition in Paris, then a sure way to do so is to make the topography of the famous beautiful city part of your show. For his debut presentation in the world fashion capital, American label John Elliott he did just that, climbing the sculptural full roof of the Pompidou Center – a high-tech museum in the heart of the city – to showcase his latest collection in front of a wide view of the Eiffel Tower, Montmartre and the freckles between the zinc roofs. It was a classic romantic setting that relied on a similarly classic romantic vision of fashion. Consisting of elevated, eminently wearable staples, it was a far-reaching wardrobe-oriented offering. The wide round-shouldered outerwear in light, dusty shades gave off a relaxed, summer casual look, the casual tone they gave resonated with mint green combat pants and short shorts for boys and girls. They were counterbalanced by more evening tailored looks – elegant tight suits worn with gabardine coats and tight ties – and tight dresses seen towards the end of the show. These pieces – especially cocktail numbers – showed the brand’s technical nose through a drape that reveals sternum, a sensibility that reveals the skin that informed the knit, which was broken by ribbons knitted from invisible thread. All in all, it was a sure proposition that showed enthusiasm and versatility. This may have been John Elliott’s first presentation in Paris, but it looks like they will stay here. MRS